THE WAY FORWARD

THE ARTISTS’ VISIONING

OF THE ARTS &
CULTURAL SECTOR
FROM 2010 - 2050

© Rubadiri Victor MARCH 2010

Interim President
The Artist Coalition of Trinidad & Tobago
5 Gulf View Drive
La Horquette Extension Road
Glencoe
Trinidad, West Indies
1-868-797-0949
rubadiri@yahoo.com
www.artistcoalition.org

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“QUITE SIMPLY. NO ONE HAS LISTENED TO US
FOR 48 YEARS. NEARLY EVERYTHING HAS
COLLAPSED. THERE IS A LOT OF WORK TO DO.”

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 CONTEXT

FOR THE T&T ARTS COMMUNITY & CULTURAL

INDUSTRY THIS IS THE MOST IMPORTANT BUDGET
THAT WILL EVER BE AUTHORED. WE NEED TO
UNDERSTAND THIS HISTORICAL MOMENT SO THAT WE
DO NOT MAKE FATAL ERRORS- ANY ERROR AT THIS
MOMENT IS FATAL!!!

IF WE DO NOT GET IT RIGHT IN THIS BUDGET-

IT MAYBE ALL OVER FOR US…

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 • THIS YEAR WILL MARK THE COMPLETE PASSING OF
THE GOLDEN AGE GENERATION
• 17,000 HAVE DIED IN THE LAST 9 YEARS- 3000 ARE
LEFT, 2010 IS GROUND ZERO
• WE HAVE NOT DOCUMENTED STORIES NOR PASSED
ON INDIGENOUS SPECIALISED SKILLS, A CRITICAL
ENTERPRISE AWAITS, 144 TRADITIONAL SKILLS ARE
IN EXTREME JEOPARDY OF DISAPPEARING…
• WE FAIL & WE LOSE COMPLETELY OUR
UNIQUENESS & COMPETITIVE ADVANTAGE
WE HAVE FACED NEAR COMPLETE COLLAPSE
IN EVERY SINGLE SECTOR- DESPITE A $300
BILLION BOOM BECAUSE OF SECTOR
NEGLECT

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• COLLAPSES IN THEATRE, DANCE, MUSIC, VISUAL ARTS, CRAFT,
LITERATURE, TV & FILM, FESTIVALS…
• COLLAPSES IN SKILL, AUDIENCE, INTERNATIONAL BRAND CACHE,
AESTHETICS, MARKET CONNECTIONS…
• COMPLETE DIVORCE OF POPULATION FROM THE ARTS EXCEPT
IN ITS BASEST FORMS…
• WE ARE MOVING INTO A PHASE EXEMPLIFIED BY WEST INDIES
CRICKET WHERE ONCE WE WERE WORLD LEADER BUT NOW ARE
FIRMLY ENTRENCHED AS SECOND TO LAST- BECAUSE OF A
FAILURE TO HONOUR, INSTITUTIONALISE, TRANSMIT AND
INNOVATE ON LEGACY. WORST YET IS THE COMPLETE
INCAPACITY TO CRAFT PATHWAYS TO GRADUATE TO EVEN THE
TIER ABOVE US- FAR LESS BECOME WORLD LEADERS AGAIN
CONVERSELY- ON THE REST OF THE
PLANET- THE ARTS HAVE EXPLODED IN THE
LAST DECADE & ARE THE ENGINE OF
GROWTH FOR LARGE & SMALL ECONOMIES

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 • MOST COUNTRIES HAVE CREATED THE ENABLING
ENVIRONMENTS AND INSTRUMENTS TO UNLEASH
THEIR CREATIVE SECTORS
• THEY ALL HAVE REAPED NATIONAL BENEFITS
WHICH HAVE TOOLED THEM ECONOMICALLY TO
DEAL WITH THE GLOBAL DOWNTURN
• WE WERE COMPLETELY LEFT OUT AND HAVE TO
CATCH UP

WE HAVE DONE NEXT TO NOTHING IN 48

YEARS IN TERMS OF ENABLING

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 • WE MUST BE HONEST WITH OURSELVES, WE ARE
STARTING ALMOST FROM ZERO IN TERMS OF A
FACILITATIVE ENVIRONMENT
• WE HAVE TO MOVE FROM INTUITIVE GIFTS TO MASTERY
TO GLOBAL INDUSTRY
• WE NOW HAVE TO CONSTRUCT A PROPER ECO-SYSTEM
OF INFRASTRUCTURE, LEGISLATION, POLICY, AND
FUNDING INSTRUMENTS TO FACILITATE TALENT
• SIMULTANEOUSLY WE HAVE TO ENGAGE THE LOCAL
TALENTS THAT ARE READY TO GRADUATE AND WIN NEW
LANDS FOR US-
• WE MUST IDENTIFY AND EMPOWER THESE TO BE THE
GLOBAL GATE-OPENERS

WE ARE ONE OF THE 10 CULTURAL NODES ON

PLANET EARTH

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 • THE NODES ARE: NY, LA, LONDON, NEW ORLEANS, PARIS,
ROME, INDIA, JAPAN, JAMAICA…
• OUR POWER AND INFLUENCE WAS CREATED IN OUR
GOLDEN AGE 1930-1950
• WE EXIST IN A PERIOD OF THE WANING OF THE
INFLUENCE OF OUR GOLDEN AGE
• OUR CHALLENGE IS: HOW DO WE CONTINUE THE GIFTS
OF A GOLDEN AGE WHEN THE CONDITIONS ON THE
GROUND NO LONGER EXIST?
• OTHER COUNTRIES HAVE ANSWERED THOSE QUESTIONS
FOR THEIR TRADITIONS- EG. THE EUROPEAN SYMPHONIC
ORCHESTRA, ETC
• WE MUST: TREASURE, HONOUR, & BUILD ON THESE
GIFTS; UNLEASH THE MASTERS; AND APPRENTICE ,
EMPOWER AND UNLEASH THE FIFTH GENERATION
WE KNOW WHAT WE CAN DO WHEN
UNLEASHED! WE HAVE A PHENOMENAL
LEGACY TO BUILD ON
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• WE HAVE WON OSCARS, EMMYS, GRAMMYS, TONYS,
NAACP AWARDS, BET AWARDS, NOBEL PRIZES,
COMMONWEALTH BOOK AWARDS, BOLLYWOOD
OSCARS-
• 300 TRINI-STYLED CARNIVALS GLOBALLY WORTH $15B,
CREATED THE ONLY ACOUSTIC INSTRUMENT IN THE 20TH
CENTURY, WORLD’S 1ST PLATINUM ALBUM, 2ND OLDEST
RECORDING INDUSTRY IN THE WORLD, A CULTURAL
MOTHERLODE UNPARALLELLED IN HUMAN HISTORY…
• WE MUST EMPOWER SKILLED, WILLING AND WORTHY
PRACTITIONERS WITH THE LEGACY OF THE MASTERS AND
FACILITATE THEIR WINNING OF NEW LANDS FOR US

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 PHILOSOPHY

A FACILITATING ENVIRONMENT VS HAND-OUTS:

 Local artists and cultural industry stakeholders have never been interested in hand-outs or
being dependent on government and the Ministry of ‘Culture’.
 The sector is interested in the Ministry and government doing their job. That ‘job’ is the
creation of a facilitating environment for the practice of Art and careers in Culture.
 The plans in this document are simply the laying out of what that superstructure and its
innards look like. WE ARE INSISTING UPON THE CREATION OF THIS ENABLING ENVIRONMENT

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 IN THE SAME WAY INDUSTRIAL SUPPORTS WERE CREATED FOR THE OIL & GAS SECTOR,
MANUFACTURING, POULTRY AND OTHER INDUSTRIES LOCALLY
 These initiatives are also 48 years overdue.

JUSTICE
 Trinidad and Tobago is not normal. It is one of the 10 great cultural nodes on planet Earth.
Historically it is one of the richest cultures to have ever appeared on planet Earth
 We have historically squandered all of this Heritage and its attendant gifts and are at an
alarming state of complete collapse
 2 generations have died and not seen any of these programmes implemented
 Cultural practice has collapsed to an alarming degree whereby most of the superhuman gains
that this country has won over the course of the Golden Age have completely been eroded
 We are in an emergency scenario where we can be looking at the complete collapse of certain
sectors, the disappearance of certain traditions, and the complete systemic impossibility of
T&T reclaiming its previous state of privilege in certain sectors- imagine a West Indies Cricket
type scenario throughout dozens of sectors
 The interventions itemized here will create the most basic physical, policy and legislative
infrastructure necessary on one hand- and an emergency intervention on the other

GEOMETRICALLY INCREASING THE CONTRIBUTION OF CULTURE TO THE ECONOMY:

 The current contribution of ‘Arts and Culture’ to the economy is about $1.6 Billion.
 A deployment of the plans detailed in this document will create a real and vibrant cultural
sector that can multiply its contribution to the national economy by 3 in about 3 years and by
10 in about 7.
 The contribution of the cultural sector to the economy can be about $10 Billion comfortably at
current values.
 The returns on cultural investment are normally geometric rather than gradual and linear
 Do not be overwhelmed by the quantity of programmes. There may appear to be quite a lot-
and they are. But they are low cost with very high financial, social and political returns.
 Most of these interventions are self-sustaining.

EMPLOYMENT & ENTREPRENEURSHIP

 The power of Arts and Culture is that it allows diverse and multi-tiered sections of the
economy to partake, create and maintain viable careers.
 The proper implementation of these programmes will create one of the most powerful forces
for independent upward mobility in the country.
 Once many of these players receive the necessary start-up capital and resources they will be
able to navigate their careers independently.

THE PUBLIC
 There is no other sector that will empower more people- and in joyful professions, and give
them that secret conjunction of dream, talent, career, and reward like careers in the Arts
 Initiatives in the Arts and Culture will play well to enormous swathes of the community
politically and thus are worthwhile to a standing administration

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THE INSTITUTIONAL
FRAMEWORK

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“THERE ARE INTERNATIONAL PRECEDENTS
FOR MOST OF THE INSTITUTIONAL AND
PROGRAMME INTERVENTIONS SUGGESTED IN
THIS DOCUMENT- MANY ARE COMMONPLACE
ALL OVER THE WORLD. THE ORGANISATIONAL
STRUCTURES FOR THE MANAGEMENT OF
PROGRAMMES- LIKE THE SUGGESTED GRANT
SCHEMES- ARE ADAPTED FROM AGENCIES
WITH INTERNATIONAL BEST PRACTISES.
NEEDLESS TO SAY ALL INSTITUTIONAL
SUBVENTIONS IN THIS BUDGET WILL BE
SUBJECT TO THE HIGHEST DEGREES OF
ACCOUNTABILITY. THIS IS WHAT
DIVERSIFICATION LOOKS LIKE AT GROUND
ZERO!”

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INSTITUTIONAL ARRANGEMETS:
IT IS IMPORTANT TO GET THE INSTITUTIONAL ARRANGEMENTS RIGHT SO THAT THERE IS HARMONY
AMONGST THE PLAYERS IN THE SECTOR. ROLES AND RESPONSIBILITIES MUST BE CLEAR AND LINES OF
COMMUNICATION MUST BE OPEN AND THE PROTOCOLS FOR THEM WELL ESTABLISHED.

THE MINISTRY OF ARTS & MULTI-CULTURALISM Status for implementation: IMMEDIATE

The Ministry is at present made up of The Minister, Junior Minister, Permanent Secretary, Director of
Culture, and Staff. We are suggesting that there be 12 Cultural Officers of different competencies, 3
Ministerial Advisors, and a Council of Elders made up of the country’s cultural icons like Minshall, Pat
Bishop, Ravi Ji, Leroy Clarke, Earl Lovelace, Mungal Patessar, Sat Balkaransingh, Horace Ove, Geoffrey
Holder, etc… A proper read of the current staff’s competencies and present project work load should be
done. Possibly a major hiring drive would have to be done.

THE T&T ARTS COUNCIL Status for implementation: MEDIUM TERM (1.5 years)
We are suggesting the creation of a T&T Arts Council based on the Canadian model as an intermediary
arm’s-length arts funding agency to overlook this critical area. The Trinidad and Tobago Coalition of
Services Industries (TTCSI) will be the Project management body overseeing the establishment of the
T&T ARTS COUNCIL. They will be responsible for ramping up the managerial capacity of the sector. The
Council’s main areas of activity are:
 Grants: They provide funding to individual professional artists and arts organizations through a
peer assessment process. This is the nursery for original work, innovation and entrepreneurship.
 Endowments, Scholarships and Prizes: Each year they will award fellowships, scholarships, and
prizes to some 200+ artists and scholars.
 Research, communications and arts promotion activities also further their mandate to support,
promote and celebrate the arts.
ADMINISTRATION, PEER-REVIEW PROGRAMMES, PROCESS, SET-UP: $3 MILLION

THE ARTS COUNCIL UNITS & PROGRAMS- THE SECTOR REQUIRES A NURSERY FOR TALENT TO EMERGE
1. The National Foundation: Status for implementation: IMMEDIATE (Budget 2011) Trinidad and
Tobago has never had a transparent national grant fund that artists and stakeholders can
apply to for the purpose of creating and refining work. A fund of minimum $135 M should be
set up for the funding of artist and community projects- to be the major funding device for the
nation’s artists.
This money should be supplemented and/or boosted by: National Lottery Funds; an Oil and Gas
tax; and special taxes from Carnival profiteers like hotels, alcoholic beverage companies; etc.
Also the private sector will be invited to contribute and/or adopt some of the grants and brand
them if they are interested. The theme is Partnership. This Grant Scheme money is separate and
apart from annual subventions for statutory representative bodies.

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 SIZE OF INDIVIDUAL GRANT NO. OF GRANTS ANNUALLY TOTAL FOR YEAR
(2550 grants) ($135 000 000)

$ 1 000 000. 10 $ 10 000 000.

$ 500 000. 40 $ 20 000 000.
$ 250 000. 200 $ 50 000 000.
$ 100 000. 100 $10 000 000.
$ 50 000. 200 $ 10 000 000.
$ 25 000. 1000 $ 25 000 000.
$ 10 000. 1000 $ 10 000 000.
THE GRANTS WOULD BE DISTRIBUTED SIX TIMES PER YEAR- TOTAL $135 000 000. 00. THIS IS
THE NURSERY-BED OF PREMIUM ARTS ACTIVITY
WE ANTICIPATE THAT OVER 10,000 WILL BE GAINFULLY EMPLOYED DURING THESE 2550
PROJECTS. MORE THAN 10,000 PEOPLE FROM FAMILIES WILL BE POSITIVELY AFFECTED. OUT
OF THESE PROJECTS THERE WILL BE PROJECTS THAT WILL BECOME GLOBALLY RECOGNISED
AND DISTRIBUTED- AT LEAST 30% WILL BECOME EARNERS OF FOREIGN EXCHANGE.
2. International Grant search unit: Status for implementation: IMMEDIATE (Budget 2011) This
unit will search the world for suitable grants that local artists can be eligible for- and publish and
facilitate them. For instance there are Universities who buy cultural artifacts for their
collections, this Unit can secure such opportunities for locals
3. The Magnificent Sevens Genius Grant program: Status for implementation: IMMEDIATE
(Budget 2011) The Council will oversee the selection of the 28 annual Genius Grants. A
RUNNING THEME THROUGHOUT THIS DOCUMENT IS THAT WE MUST UNLEASH THE MASTERS!
AGE GROUP NO. OF GRANTS SIZE OF INDIVIDUAL TOTAL COST OF AGE
GRANT GROUP GRANTS
15-25 7 $ 100 000. $ 700 000.
25-45 7 $ 500 000. $3 500 000.
45-65 7 $ 750 000. $5 250 000.
65 and over 7 $1 000 000. $7 000 000.
TOTAL $16 450 000
GENIUS GRANTS ARE REALLY ISSUED FOR WORKS THAT GENIUSES HAVE ALREADY DONE- BUT
THE RETURNS OF GIVING GRANTS TO CERTIFIED GENIUSES IS STRATOSPHERIC. THE WORK
THAT THEY CAN NOW CREATE HAS A POWER TO TRAVEL AND ENTER GLOBAL SPACES IN WAYS
THAT NO KIND OF PROGRAMME CONCEIVED BY ANY BODY ELSE CAN- E.G. PETER MINSHALL…

4. National Arts Scholarship Programme: Status for implementation: IMMEDIATE (Budget 2011)
The Council will oversee the selection process of the types of scholarships awarded for the
sector- based upon needs. They will oversee screening, selection, monitoring, and deployment
of candidates. (SEE PAGE 21 BELOW)

THE SPECIAL PURPOSE AGENCIES

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 1. TTENT: Status for implementation: IMMEDIATE (Budget 2011) Needs an annual subvention of
at least $25 Million to accomplish its objectives: Subvention will cover: Administration; Training;
Marketing; Grants; Scholarships; etc. The majority of TTENT’s money should be spent on
facilitating teams of T&T talent to niche expos like MIDEM and WOMAX for music; Germany,
Brazil, Venice, France, Senegal Biennials for visual artists; world craft fairs for craft artists and
industrial designers, etc…Of great importance is the constitution of the TTENT board- it should
consists of nominated people by sector groups and reps from groups like RIATT. $25 MILLION
2. TTFILM: Status for implementation: IMMEDIATE (Budget 2011) Needs an annual subvention of
at least $25 Million to accomplish its objectives, although $15 Million can do for starters…
Subvention will cover: Administration; Training; Marketing; Annual Film Festival; Overseas
Expos; Grants; Scholarships; etc $15 MILLION (full TTFILM sector demands on page 33)
3. The Incubation Unit: Status for implementation: IMMEDIATE (Budget 2011) Not necessarily a
stand-alone company, it could be within the Ministry itself. The job of this agency is to assist
artists who have received assistance with upgrading their skills and competencies in managing
their work, business and talents towards realizing their objectives. BUDGET: $3 M for
administration, Training programmes, Outreach, Hiring of life-skill and entrepreneurial coaches,
Rental of conference rooms, etc $3 MILLION
THE ARTIST COALITION Status for implementation: IMMEDIATE (Budget 2011)
As the umbrella group of all artist representative groups ACTT needs to have institutional strengthening
funding granted to it as a worthy NGO. The rest of its funds should be secured by annual payments from
all its 20+ member groups- a number which is always expanding. ACTT has been the major artists
bargaining and lobbying unit in the nation for the last decade- against overwhelming odds. ACTT is the
umbrella body of all the cultural umbrella bodies. As such it is the negotiating arm of artists and will also
become the facilitating body for the Artists Union which needs to be formed to regulate internal artist
conflicts and protocols. The Union will be affiliated with Equity in the USA and in England. $500 000.

THE REPRESENTATIVE BODIES Status for implementation: IMMEDIATE (Budget 2011)

NDATT, TUCO, the Chutney Foundation, etc… They should each have their funding bases tripled. Their
jobs are to look over their sector interests. They should be funded as usual by the Ministry and their
subventions should be mandatory and fixed. For special project funds they can apply to the Foundation.
NO. OF GROUPS IN PLAN ANNUAL SUBVENTION/GROUP TOTAL
5 Elite stakeholder groups (Pan, $ 1 000 000. $5 000 000.
TUCO, 2 Chutney share, 2 Mas
share, )
15 Senior groups (NDATT- drama $ 500 000. $7 500 000.
and dance, ART SOCIETY,
PARANG, RAPSO, RIATT, etc)
20 Formative groups (HIP HOP, $ 100 000. $2 000 000.
JAZ ALLIANCE, FARMM, etc)
TOTAL 40 GROUPS $ 1 600 000. $14 500 000.
THE CURRENT AVERAGE SUBVENTION OF REP GROUPS IS $120,000 AND WAS SUBJECT TO POLITICAL
WHIMS- THIS IS TOTALLY UNACCEPTABLE FOR NATIONAL ORGANISATIONS. CONSISTENT,
PREDICTABLE AND ADEQUATE INSTUTUTIONAL FUNDING WILL BE THE BASE OF THE RENOVATION IN
MANAGEMENT OF THE REPRESENTATIVE GROUPS IN THE SECTOR.

IT IS SUGGESTED THAT COMMUNAL AND SHARED OFFICE SPACE BE IDENTIFIED FOR THE
REPRESENTATIVE ORGANISATIONS RENT FREE FOR A LIMITED TIME (2 TO 3 YEARS) SO THAT THEY CAN
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ESTABLISH THEIR ADMINISTRATIVE CAPACITIES AND NETWORK. WE ARE SUGGESTING THAT ONE
FLOOR OF THE IFC BUILDING BY THE WATERFRONT BE GIVEN OVER TO THE ADMINSTRATIVE OFFICE
HUB OF THE ARTIST REPRESENTATIVE GROUPS. THIS CENTRALISATION AND UPGRADE WILL FAST-
TRACK THE PROFESSIONALISATION OF THE SECTOR AS UPGRADE OF MANAGEMENT SKILLS WOULD BE
EASIER TO CORDINATE. THERE WILL SOON BE AN EXCESS OF FREE OFFICE SPACE ALL OVER THE CITY
AND ITS SUBURBS ONCE GOVERNMENT CAMPUS IS OPENED SO THAT THERE WILL BE OPTIONS.

Decentralized spaces in communities should also be identified and the technological resource to ensure
interconnectivity be put in place. All of this outfitting will ensure the professionalization of the sector
and the upgrade of management skills.

THE RIGHTS COLLECTION AGENCIES Status for implementation: IMMEDIATE & ONGOING
Because the basis for T&T’s wealth in the creative sector in the upcoming years is going to depend on:
our ability to register our intellectual proprietorship over a range of our cultural creations and our ability
to collect the revenues derived from this- we must then refine our institutional framework so that they
could be armed with all the instruments necessary to be able to do these things. The present Rights
Collection Agencies must be rehabilitated and the necessary others brought on stream. COTT, TTOC,
etc… should be facilitated in the process of collecting the royalties due to T&T citizens from our creative
work. The appropriate International Conventions must be entered into to enable this. RERAP is the body
formed to collect and administer the very important phenomena of neighbouring rights which is not
currently captured locally. The start-up cost of RERAP is $ 1 000 000. for: Legal costs; Administration;
Training; Marketing; Overseas Outreach; Launch; etc
$2 MILLION

THE NCC: Status for implementation: IMMEDIATE & ONGOING (should be unveiled by the launch of
Carnival 2011)
There is no greater economic force that T&T has created that can rival its global carnivals in terms of
impact. The NCC must be reconceived as a permanent agency entrusted, staffed and equipped to deal
with a global mandate for all the 300 Trini-styled Carnivals that already exist . It must be also based on
an understanding of T&T as the industrial, creative, intellectual and spiritual centre of a multi-billion
dollar social and creative phenomenon- a centre that has ambitions to carry its gospel to all corners of
the Earth and expand its market share exponentially by 2050. This vision must also overlook the
expansion of the plant capacity of T&T to facilitate recapturing the proprietorship of the elements of
production and the software for the global festival. It requires a CEO with vision and practical skills and a
working board of incredible creative and managerial expertise.

A figure of just over $100 M was quoted for last carnival, we believe with the new dispensation the NCC
should be allotted $75 M as an annual subvention to see after its large ambit of the international 300
Carnivals and the local Festival. Other costs- infrastructural, grant related, etc would now be facilitated
and administered through other independent agencies and funds we have outlined. $75 MILLION

 T&T’S 300 TRINI-STYLE CARNIVALS ARE WORTH ABOUT $15 BILLION- OF WHICH WE CAPTURE
LESS THAN .0001%.
 WE HAVE LOST CONTROL OF MANY OF THE BOARDS THAT ADMINISTRATE THESE CARNIVALS.
 WE ALSO HAVE LOST ANY KIND OF T&T BRAND CONNECTION AS THE ORIGINATOR OF THESE
FESTIVALS.
 THE COSTUME TRADITION WE PIONEERED IS COLLAPSING IN MOST OF THE CARNIVALS- AS IT
IS AT HOME.
 THE 2 INSTITUTES THAT HAVE BEEN CREATED FOR CARNIVAL EXIST IN ENGLAND- LONDON
AND LUTON. FOREIGNERS ARE NOW TAKING OVER THE SPECIALISED GOLDEN AGE SKILLS WE
ONCE POSSESSED.

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  THE NCC’S CARNIVAL SPEND MUST BE CONCEIVED WITH THE IDEA OF RE-ESTABLISHING THE
VITALITY OF CORE TRADITIONS. SKILLS AND PRACTISES. SITES OF RETENTION AND
INNOVATION MUST BE ACKNOWLEDGED, CREATED AND REWARDED.

CULTURAL INDUSTRY VENTURE CAPITAL: IMMEDIATE (Budget 2011 in conjunction with the Ministries
of Finance, Labour and Micro-Enterprise)
WE NEED TO CREATE A FINANCIAL INSTRUMENT THAT UNLEASHES THE CORE BUSINESSES WITHIN THE
SECTOR THAT ARE WILLING TO RISK TO INNOVATE AND GROW MARKET SHARE. If there is going to be
a sustained cultural industry with sophisticated entrepreneurial players who are capable of engaging the
global industry there needs to be at base a facilitative financial mechanism and environment for creative
business. T&T’s venture capital market is deplorably conservative and non-responsive- either it is kick-
started, new players brought in, or creative financial instruments be created to launch enterprises with
appropriate seed-capital. An expert financial and managerial team can be put together that understands
the sector to be the incubative team and monitors. $51.5 MILLION

(see appendix for a plan for the Ministry of Trade called ‘The Billion Dollar Visionary Fund)

SECTOR HEALTH PLAN:

 Signing of a group health plan for the Cultural Industry for ages 18- 70 and a special
provision for ages 71-99: $1 MILLION will give full major medical coverage up to $400 000/
person for 2050 people *see appendix for details

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 IMMEDIATE ACTIONS
THE FIRST 100 DAYS

IMMEDIATE ACTION:
1. MASSIVE STAKEHOLDER MEETING Status for implementation: IMMEDIATE (within 1 month)

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The first action by the Minister should be a massive national stakeholder meeting that would
probably have to be held at the Centre of Excellence because there would be 5000+ people
expected. The aims of the meeting would be:
 Introducing the Minister and his team, which will mark a distinct break with the past of non-
consultation
 The revelation of the broad philosophy of this Minister and his team
 Getting the National Registry of Artists totally subscribed as people will have to register
upon entry. This Registry is a prerequisite for EPA entry within 3 years…
 Release the Draft National Cultural Policy for stakeholder comment
 Begin a process of consultation for ideas with a massive suggestion box
 Launch some immediate initiatives for stakeholder support and buy-in
$2 MILLION

2. THE DRAFT NATIONAL CULTURAL POLICY Status for implementation: IMMEDIATE (1 month)
The most important document for the sector! It must be a priority. Needs to be perused by Cabinet
and the relevant Ministries it intersects with (Education, Trade, Tourism) - and then released at the
stakeholder gathering. Also the draftees (full disclosure: of which I am one) have to be paid. $1
Million for: payment of draftees; administration of outreach and refurbishment of document;
national consultation sessions; final draft and launch.
$1 MILLION

3. THE OPTIMUM COUNTRY- OPTIMUM INDUSTRY PAPERS Status for implementation:

IMMEDIATE (Budget 2011)
The Optimum Country is a series of Vision Papers on each cultural sector ‘visioning’ what the
maximum productive capacity of the sector is with all the present players if the sector were
functioning at its optimum. The papers allow one to see which players, events, forces and elements
should be resourced and nurtured whilst the ecosystem of infrastructure, legislation and policy is
put in place. From these papers, long and medium term plans can be crafted and an immediate
action plan can be drafted up:

An example of an Immediate Sector Action Plan based on an Optimum Industry Study:

THE MUSIC INDUSTRY: $10 MILLION EMERGENCY MUSIC INDUSTRY PLAN- (matching funding int’l)
 $2M: Funding for full albums for 25 of our best album acts- chosen from The Optimum
Industry document which identifies the acts who are poised for take-off
 $1M: Scholarships for 7 of our best music producers and engineers who would then be
the spear-head of taking the ‘sound’ of local music to the next level
 $1.5M: Scholarships for 10 musicians in bass, guitar, drums, brass, keyboards, voice,
strings, African/East Indian/ethnic instrumentation- to become the cornerstone for local
session musicians for the local recording industry
 $1.5M: For the creation of 24 band-rooms across the country in community centres
and other identified spaces for musicians to rent at subsidised prices.
 $3M: Tour funding for a 3 year brand T&T assault on the international music expos of
MIDEM and WOMEX for about 30 acts selected again from The Optimum Industry
document
 $1M: For an exploratory tour for a select 20 artist to England and Europe
 Launch a Record label start-up Grant with an incubation fund (partner with Ministry of
Trade)
 Establish local content tax breaks for venues featuring live paid local acts (partner with
COTT)- possibly dollar-for-dollar for one year
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  Establish a Ministry Of Culture Travel Department for all travelling working artists to
work through visa requirements, procedural stuff with High Commissions and Embassies,
and EPA and other regulations
 THIS EMERGENCY INTERVENTION COULD BE WORTH MORE THAN $100 MILLION TO THE
ECONOMY ANNUALLY- AS ELITE ACTS ARE EACH CAPABLE OF EARNING NET $20
MILLION/YEAR AND THESE PROGRAMMES WILL IMMEDIATELY UNLEASH ABOUT 10 ELITE
ACTS INTERNATIONALLY.
 AT PRESENT T&T HAS ONE ELITE ARTIST WHO EARNS $54 MILLION A YEAR.
 BELOW HIM THE NEXT ARTISTS EARN ABOUT $1.5 MILLION BUT IF YOU WERE TO SUBTRACT
PRIZE MONEY FROM THAT YOU WOULD HAVE ONLY $500,000. IN REAL EARNINGS. BENEATH
THIS POOL OF ABOUT 7 LIES SUBSISTENCE. THIS DOES NOT CONSTITUTE AN INDUSTRY.
 AT THE SAME TIME THERE ARE DOZENS OF ACTS THAT ARE GLOBAL READY AND NEED TO BE
UNLEASHED. WE HAVE ABSOLUTELY NO FACILITATIVE MECHANISMS FOR THIS TO HAPPEN.
 T&T CAN HAVE AT LEAST 50 MUSICAL ACTS OPERATING AT THE LEVEL OF MACHEL AT $58
MILLION/YEAR. 200 ACTS UNDER THAT EARNING BETWEEN $1M- $20 MILLION/YEAR. BELOW
THAT ABOUT 500 ACTS THAT ARE GAINFULLY EMPLOYED IN MUSIC AND WHO TOUR
INTERNATIONALLY AT SOME POINT IN THE YEAR. IN ANY GIVEN YEAR SOME OF THESE ACTS
CAN GRADUATE TO THE NEXT LEVEL. JAMAICA’S INDUSTRY FUNCTIONS LIKE THIS.
 MACHEL EMPLOYS AT LEAST 50 PEOPLE IN HIS IMMEDIATE CIRCLE AS A
BUSINESS/PERFORMING UNIT. MULTIPLY THIS BY 200…

OTHER EMERGENCY SECTOR INTERVENTIONS:

SECTOR COST OF EMERGENCY INTERVENTION
Visual Arts $1 000 000.
Theatre $2 000 000.
Film and TV $2 000 000.
Literature $1 000 000.
Mas and Festivals $2 000 000.
TOTAL $8 000 000.

 THESE SECTOR INTERVENTIONS ARE TO RIGHT IMMEDIATE WRONGS AND TO IDENTIFY AND
PROPEL THE ELITE PERFORMERS INTO THE GAME OF GAINFUL GLOBAL ENGAGEMENT.
 WE MUST LOOK AT THE ARTS LIKE WE LOOK AT SPORTS IN TERMS OF ELITE PERFORMERS
WHO ARE CAPABLE OF WINNING MEDALS- ONLY THAT ELITE ARTISTS WIN MILLIONS OF
DOLLARS OF FOREIGN EXCHANGE AS THEIR MEDALS.
 IF THIS COUNTRY HAS A CADRE OF 200 ELITE PERFORMERS OPERATING IN THE WORLD THEY
ALONE WOULD BE WORTH $10 BILLION AT AN AVERAGE EARNING OF $50 MILLION/YEAR.
 IF ANY ONE OF THESE ACTS WERE TO GRADUATE THE TOP TIER OF THE ENTERTAINMENT
HEAIRACHY (E.G. BARBADIAN RIHANNA) THEY COULD BE EARNING IN EXCESS OF $100
MILLION/YEAR EASILY. THE MORE ACTS WE PUT IN THE UPPER RUNG THE GREATER THE
POSSIBILITY OF THIS HAPPENING.
4. THE YEAR OF MEMORY Status for implementation: IMMEDIATE (1 Month) THIS IS OF EXTREME
URGENCY!!!! We are racing people’s mortality and senility. The necessary stakeholders are
ready to move on this- plans have been in the works for a long time…

22
 2010 needs to be declared The Year of Memory and a major programme documenting the nation’s
cultural Legacy needs to take place. This may be the last year we have with most of the magic
generation which made T&T special. TRINIDAD AND TOBAGO HAS LOST UP TO 17,000 GENIUS
ELDERS FROM OUR GOLDEN AGE GENERATION IN THE LAST DECADE. THERE ARE 3000 VIPs LEFT.
T&T’s Golden Age lay between 1930 and 1950- a period of phenomenal achievement for the
country. That generation is now 75, 85 and over- and is passing on… In the Golden Age period of the
30s to the 50s Pan, Mas, and Calypso emerged in their modern forms, the entire multi-ethnic festival
character of the nation took shape, it was the period of the growth of the trade unions, religious and
secular organizations, and the birth of Independence. It was a period of all-round national
achievement. In one week in this last decade we lost Beryl Mc Bernie, Sundar Popo, and the Lord
Kitchener. Every new week there are more deaths. We have not paid any attention to this urgent
phenomenon and we are on the brink of losing the entire Memory of the Nation. The programmes
during the Year of Memory include:
 PROJECT MEMORY: a unit and methodology to record biography $15 Million
 The Guilds of Masters: a unit and methodology to pass on specialized skill and practice.
We have identified 144 skills that are in immediate danger of disappearing. $10 Million
 INHERITANCE: The History of the Arts and Culture of Trinidad & Tobago Exhibit: a
permanent exhibition to be lodged in the National Museum documenting the magical
creative multi-ethnic Legacy of T&T $1 Million
 Grounding with the Elders Lecture Series: The nation will come face to face with a
series of these Elders in one on one lectures and conversations $500 000.
 The 100 Greatest Moments of T&T Civilisation TV series & book: a 7 part television
series recollecting the defining moments of Trinidad and Tobago’s phenomenal history $1
Million
 The 100 Greatest Mas Costumes & Carnival Bands of all time TV series & book: two 7
part television series recollecting the greatest costumes and bands of T&T’s magical carnival
$1 Million
 The Carnival Files- a specialized process of recording Mas practice $1 Million
 Salute to the Magicians- a special commemorative dinner honouring T&T Mas genius
$500 000
 The Golden Age Radio program- a thrice weekly filmed-in-studio-radio program on
different aspects of T&T’s multi-ethnic Golden Age Legacy $100 000.
 Histories & Memoirs- the commissioning and/or facilitating of a range of cultural
histories, biographies, and research papers and books: eg The SOCA Book; Caldeo Sookram’s
History of East Indian Music; the Minshall Book; Rudder’s biography; the Trinidad Theatre
Workshop; etc $1Million
 The Theme Park: Status for implementation: LONG TERM (Phase 1 in 4 years) (this will
be dealt with at length later) Commissioned Feasibility Report $100 000
TOTAL FOR MEMORY PROGRAMMES: $31 200 000.
The aim in all of these programs is to mainstream the Legacy and Memory of T&T in the life of citizens
throughout the length and breadth of the country. These programmes will work alongside other
initiatives like the National Heroes Policy, the 365 Heritage Sites, etc…

23
 THE RECORDED HISTORIES OF T&T’S GOLDEN AGE ELDERS ARE WORTH
BILLIONS TO THE NATIONAL PATRIMONY
 THE COLLECTED ARTIFACTS FROM T&T’S GOLDEN AGE ELDERS ARE
WORTH BILLIONS TO THE NATIONAL PATRIMONY
 THE CURRICULUM THAT WILL BE CREATED FROM THE RECORDED LEGACY
AND SKILLS OF T&T’S GOLDEN AGE ELDERS IS WORTH BILLIONS TO THE
NATIONAL PATRIMONY
 THE PATENTING OF THE KNOWLEDGE, TRADITIONAL SKILLS AND
INVENTIONS OF T&T’S GOLDEN AGE ELDERS IS WORTH BILLIONS TO THE
NATIONAL PATRIMONY
 THE HERITAGE SITES CREATED OUT OF THE LEGACY OF T&T’S GOLDEN AGE
ELDERS ARE WORTH BILLIONS TO THE NATIONAL PATRIMONY
 WHY HAVE WE NOT DONE THIS?
 THIS YEAR CONSTITUTES OUR ABSOLUTE LAST CHANCE!!!

24
 THE PROGRAMMES

THE PROGRAMMES:
To kick-start the process of the rehabilitating and modernizing of the sector there must be pointed
programmes which guide activity in certain directions. These are a host of programmes that have been

25
outstanding since Independence and others that have been suggested by visionary practitioners
throughout the years. Here are a list of them which should be immediately tabled:
REPATRIATING TRINI GENIUS FROM ABROAD
1. SUMMIT.org: Status for implementation: SHORT TERM (announced in Budget 2011 for
realization in 8 months) T&T has a brilliant diaspora of genius talents that have been brain-
drained away and who are not interested in returning. Summit.org proposes to create a 3 day
seminar that brings back hundreds of our best minds and talents from abroad for the purpose of
networking, returning and brainstorming solutions to pressing national problems. $ 3 MILLION
THIS WILL BE PARTNERED WITH BY PRIVATE SECTOR & INTERNATIONAL PARTNERS

HEROISM AS REPAIRING CITIZENSHIP, COMMUNITIES & AS A MULTI-MILLION DOLLAR INDUSTRY

2. The National Heroes Policy: Status for implementation: IMMEDIATE (should be released for
public comment in 2 months, Phase 1 in Budget 2011) The National Heroes Policy should be
launched as soon as possible as it can transform the country in a short space of time. There was
a policy that was being drafted by the last administration but for some reason never saw the
light of day.
There should be local community Heroes, regional Heroes, heroes related to specific fields, and
National Heroes. Each level of hero would have a concrete institutional space which consecrates
them and establishes institutional memory and ‘take-aways’ that make the Legacy democratic.
All Community Centres should have purpose built Halls of Fames and Community Museums.
This country should have 365 Heritage Sites- one for each day of the year. Most Heritage sites
should correspond to Local and National Heroes. The country should also have numerous
Monuments corresponding to important heroes and/or events in the nation’s history.
All this should culminate in a National Hall of Fame which would be a Great Hall of Heroes
with superlative National Heroes (as well as Regional and International heroes as well).There
is also the Pat Chu Foon Savannah Walk of Fame idea… If such an ecosystem were established
with all the relevant other programmes (TV programs, Films, music, books, etc) then we have
a very different type of population- from local to national level. Then we may finally have a
Nation!
ADMINSITRATION, RESEARCH & MARKETING THRUST $3 MILLION
3. The Book of HEROES: Status for implementation: SHORT TERM (announced Budget 2011 to be
released in time for school term September 2011) This is a massive illustrated encyclopedia of
heroes which could be included in the primary and secondary school curriculum. The book is a
compendium of heroes and heroines from all over the planet- but from a very West Indian idea
of heroism- which is to say a multi-ethnic idea of heroism that has to do with resistance to
tyranny, oppression, creativity, vitality, and our very peculiar notions of brilliance and
perfection. The book needs updating, final illustrations and exhaustive editing. $500 000.

THEATRE & DANCE

26
 Because of the state of generational collapse of theatre and dance at present and its
ephemerality it is urgent that a programme for: canonization of masterworks, transmission of
skill; and recording of its history be urgently engaged. A national theatre and dance hierarchy
would have to be created that ensures the survival of national masterworks and mastery.
4. 2 National Theatre Companies and a National Dance Company: The country needs 2 National
Theatre Troupes. The Trinidad Theatre Workshop should be declared the country’s National
Theatre Company and its repertoire of Walcottian productions and other works declared
National Treasures. They should be granted a dedicated theatre space and should also be placed
in charge of the nation’s Theatre-in-Education programme which they pioneered in the 90s.The
company’s ambit is to ensure the survival of local and Caribbean masterworks by continual
performance and re-interpretation. Possible locations would be the Old Fire Station on Hart
Street next to the National Library or the abandoned National Library on Knox Street. The
National Theatre Arts Company which has already been created should be kept but its ambit
needs to be clearly demarcated. The company should be a repertory company based at the UTT
Academy for Performing Arts but should be made up of the senior and avant garde talents that
exist nationally. This Repertory Company’s role is the generation of new work, experimental
work, and staging the kind of scale of works that having access to a large (hopefully highly
skilled!) student body allows you to stage. Getting the board and structure right for this
company is critical just as is getting the theatre department right at the Academy. This company
should also have a theatre that is dedicated to it. The National Dance Company would have the
twin ambits of the 2 theatre companies. It would have a cadre of master choreographers moving
through it and building a core repertoire and its role would be to preserve masterworks by
pioneers like the Holder Brothers, Beryl McBernie and the Master Astor Johnson. They would
also be commissioning new works. A dedicated space would have to be identified for this
company as well. These 3 companies will be the beacons of excellence for the performing arts
fraternity and they would also be the centres of Memory for our traditions.
$5 MILLION
BUILDINGS WOULD NEED TO BE IDENTIFIED FOR THESE THEATRE COMPANIES AND DECISIONS
MADE AS TO THEIR TENANCY
5. National Shakespeare Festival: The nation needs a biannual Shakespeare Festival that would
immerse the fraternity in pure theatre and challenge practitioners into wrestling with
reinterpretation of texts, staging and other purely theatrical issues. This Festival also allows the
international theatre world to intersect with the local scene routinely.
$1 MILLION
6. Best Village to the World: Status for implementation: MEDIUM TERM (announced in Budget
2011 implementable by 2012) It must become regular that the best Best Village shows go on to
tour the world. Proper archiving of Best Village needs to take place with a Hall of Fame and
more and where the best scripts and plays from the past can be resurrected as part of the
Caribbean canon. $1 MILLION

PAN AS A MULTI-BILLION DOLLAR INDUSTRY

27
PAN- THE INSTRUMENT, ITS MANUFACTURING, R&D, PLAYERS, TUNERS, ACCESSORIES, PATENTS,
PLAYLIST, ARRANGERS, FESTIVALS, ETC MUST BE SEEN AS A BILLION DOLLAR INDUSTRIAL RESOURCE
FOR TRINIDAD & TOBAGO
1. Pan as the World’s Festival Instrument by 2020: Status for implementation: LONG TERM
(announced in Budget 2011) We are proposing that T&T endeavour to make Pan the Festival
Instrument of Planet Earth by 2020. This means that wherever in the world there are Sporting,
Music, and/or Cultural Festivals we want Pan to be present and recognized as the indispensable
ingredient- along with Rhythm Sections. There may be synergies here for partnerships with local
and international corporate brands (especially beverages) to leverage pan’s presence at these
events. This will be the pillar upon which the Pan Industry will be built on as T&T will aim to
establish and continue to provide the hardware, software, creative innovations, specialized
skills, genius master players, and the scholarship for the rest of the world. There are hundreds of
progressive industrial and economic implications for T&T: if there are hundreds of pansides of
varying sizes touring the planet at any point in time then we may have to consider creating Pan
Silos globally where we store, tune, and rent pans- including all the brand name pans from all
our local tuner geniuses. ADMINISTRATION, MARKETING & OUTREACH $20 MILLION

2. Schools in Pan: Status for implementation: IMMEDIATE (Budget 2011) Mainstream Lloyd Best’s
model which has been already adopted. (SEE NEXT ITEM)
3. The Panyard Renovation and Reinvention Programme: Status for implementation: IMMEDIATE
(Budget 2011) All 150 panyards are to have their tenures regularised- some bands may have to
re-locate to more suitable or less contentious sites. After this a special Fund and Unit needs to
be created to oversee the initiative of renovating and maximising the concept of the panyard.
Tenders will have to be extended for architects and other creative partners who want to take
part in the reimaging of communities around the hub of the Panyard. Hold consultations with all
panmen as regards needs. $100 MILLION
4. The Community Pan Project: Status for implementation: SHORT TERM (announced in Budget
2011 staged July/August 2011) a competition partnered with B-Mobile. Top prize $1 M for the
best young 7 side Pan combo playing contemporary music. There will be sections for R&B,
reggae, chutney, jazz, pop, rock, calypso and soca. 5 of the instruments have to be pans with 2
being any other kind of instrument. The competition will take place within communities and
move between communities and build towards a national final. The aim is:
 to change and contemporise the repertoire that is now conventionally played on pan,
expand its musical versatility and modernise its recordings
 to get young people from all ethnicities and classes interested in pan as a popular
instrument
 to create viable 7 and 5 a side combos that are more portable economic units for
moving pan around locally, regionally and internationally as touring units
 to stretch the creativity and inventiveness of the young generation
 to rehabilitate communities by bringing excitement, peace, creativity and ambition to
many communities that are now threatened by gangs, delinquency, rural and urban
neglect, idleness, and more
 to give communities incentives to discipline their delinquents as communities will be
disqualified and penalized if there are any incidents at the competition venues
 to get youths to start to indigenize their musical identity, as even though they will be
allowed to play any contemporary music, they also will be rewarded for how they
Trinbago-ise the song and sound
$4 MILLION

28
 5. Pan Out: Status for implementation: SHORT TERM (announced in Budget 2011 staged
July/August 2011) A competition which should accompany the Community pan Project. This is a
strict Pan ‘burn-out’ between virtuoso individual players. They may have to do 3 pieces- one
accompanied by a track or band, another as a soloist, and another as a pure burn-out with a
competitor. The top 12 soloists will be honoured. $4 MILLION The backdrop to this is the
creation of an industry- like Big Mike being an active participant in overseas Carnivals- but
multiplied by hundreds- music, pan tuning, playing etc. Thousands of youths employed, the
sector is on fire and moving abroad in the world. Dozens of combos who work internationally
touring for six months (COST CONTAINED IN PREVIOUS ITEM)
6. The Pan Booklets: Status for implementation: SHORT TERM (announced in Budget 2012
released Carnival 2012) A series of booklets with history of each panside which becomes their
touchstone and keepsake for the world. The books are also a way to document pan popular
history and make it mainstream and collectible. Research, authoring and layout can begin. $3
MILLION

CARNIVAL AS WELL MUST BE SEEN AS A MULTI-BILLION DOLLAR ACTIVITY

7. The Master Plan for Carnival: Status for implementation: IMMEDIATE (consultations to be
staged in July/August for Budget 2011) A master-plan to be worked out with all stakeholders,
but which will be a guiding blueprint for Carnivals of the future. (SEE NEXT ITEM)
8. The 1000 Carnivals Project (2050) Status for implementation: LONG TERM (announced in
Budget 2011) There are 300 Trini-styled Carnivals world-over. The 2 largest street festivals in the
Western world are Trini-styled carnivals. These carnivals are worth about $15 Billion. Many
metropolises world over come to T&T to set up Carnivals in their cities. We propose that T&T
target creating 1000 carnivals globally by the year 2050 with ourselves as the industrial and
creative centre of them. $10 MILLION

CHUTNEY ALSO HAS PHENOMENAL POTENTIAL AS A BILLION DOLLAR POP CULTURE INDUSTRY- BUT
MAJOR WORK MUST BE DONE IN PREPARING THE SECTOR
9. Global Chutney: Chutney exists as possibly the popular music for a global East Indian diaspora of
over 2 billion people. Much has to happen to shape the craft of chutney to be ready for this
global moment- but it is necessary that we understand that this is a possibility. $1 MILLION
10. The Ramleela Initiative: IMMEDIATE & ONGOING The phenomena of T&T’s East Indian’s
population retention and innovation of the Ramleela form is an amazing story of survival and
the power of faith and theatre. Investigations into the potential of this phenomenon are
important and can serve the nation and many diasporas simultaneously. $1 MILLION

CULTURE AND TOURISM

1. The Infinite Country: Status for implementation: SHORT TERM (announced in Budget 2011) A
possible international campaign for T&T tourism wherein it is stated that T&T is the Infinite
Country that contains continents… Should be vetted by tourism stakeholders in a large
consultation. Ministries of Trade, Sports and Planning should be consulted.
2. I AM TRINIDAD & TOBAGO: Status for implementation: SHORT TERM (announced in Budget
2012 released Carnival 2012) An internal tourism campaign set around all the multi-ethnic
heritage sites, national heroes etc to make Trinbagonians familiar with their own land.

29
NATIONAL MEETING BETWEEN GOVERNMENT, BUSINESS AND CULTURAL STAKEHOLDERS
 Private Sector and private patron involvement: (SHORT TERM don’t rush into this! Seminars
need to be devised) Many of the programmes outlined must necessarily be partnered with the
private sector and visionary private individuals. The government cannot be the only sponsor for
culture. T&T’s private sector and individual patrons have been woeful in the quantity and the
quality of their giving. When you consider dime a dozen examples such as New York’s historic
Public Library which was set up and built generationally by mostly private money and which just
received a donation of over $100 Million from a private donor to upgrade itself then we know
we do not have equivalents here. Apart from the 100% Tax Rebate which needs to be
operationalised by Carnival 2011- there needs to be a massive outreach to private sector and
individual patrons about the necessity and nature of giving and cultural investment. We must
start to create a culture whereby people will their estates to the Arts and to Charity on the
whole…
THESE SECTOR PLANS OUTLINE VERY SPECIFIC PERMANENT AND CONSISTENT AVENUES FOR
CORPORATE SECTOR AND DONOR PARTNERSHIP AND CONTRIBUTIONS

THE NECESSITY OF QUALIFIED AND COMPETENT CULTURAL ATTACHES ATTACHED TO OUR EMBASSIES,
HIGH COMMISSIONS AND FOREIGN OFFICES
 We have squandered phenomenal gains and bulkheads acquired in foreign countries and the
major metropolises of the world by our failure to have competent and skilled Cultural Officers
and Attaches.
 The Cultural Attache and Officer is the most strategic instrument in the penetration of foreign
markets and maintaining and expanding our presence in major metropolitan markets.
 All overseas missions should have a qualified Cultural Officer.
 All Cultural Officers should be briefed as to the country’s strategic plans vis a vis Culture.
 The programmes of engagement of the Cultural Officer with the resident country will be
crafted on an annual basis in consultation with the sector

QUALIFIED AND CAPABLE BUSINESS FACILITATION OFFICERS MUST BE ACQUIRED AND TRAINED FOR
OUR EMBASSIES, HIGH COMMISSIONS AND FOREIGN OFFICES

30
 CULTURAL
INFRASTRUCTURE

31
ADMINISTRATION & TRAINING- WITHOUT A QUALIFIED INSTITUTIONAL ADMINISTRATIVE CLASS ALL
YOUR INSTITUTIONS ARE AS GOOD AS DEAD
1. 200 scholarships for institutional administration: Status for implementation: SHORT TERM
(announced in Budget 2011 but roll out of candidates only possible for school term beginning
September 2011) Trinidad and Tobago does not have trained qualified institutional
administrators. To build billion dollar buildings without the cadre that can run and manage them
is madness. It is a skills bank that is missing and is the reason for the mismanaged capacity for all
our large institutions like our national stadia. The previous administration went on a building
spree without the corresponding training of an administrative institutional cadre. From
community centres to archives, from museums and heritage sites to the NAPAs we need to
urgently send interested people to become trained to take up the positions in all of these sites.
There are also a handful of highly qualified T&T institutional administrators who occupy very
high positions abroad in prestigious institutions. We may need to try and repatriate this talent
full-time, loan their services, or co-partner with them and their institutions to set up on-the-job
apprenticeships with our graduates before they come back home. We may also have to visit the
idea of hiring international experts as start-up and bridge administrators that will then
apprentice our graduates into these local institutions on their return. $4 MILLION
2. 200 scholarships for missing skills banks within the sector: Status for implementation: SHORT
TERM (announced in Budget 2011 but roll out of candidates only possible for school term
beginning September 2011) There are a host of historical skill bank absences in the cultural
sector that must be filled if the local cultural industry is to survive. A proper census and read of
this needs to be done but some of those skill-banks include: DIGITAL ENABLERS (an elite IT class
that can facilitate the sector ; artist managers, agents, musical engineers and producers, film
and TV producers, qualified film camera men, lighting men, tour and booking agents, etc. $4
MILLION

HERITAGE SITES AS VECTORS OF MEMORY, CITTIZENSHIP, ART AND COMMERCE- THE CENTRE OF OUR
DOMESTIC AND INTERNATIONAL TOURISM MUST BE THE CREATION OF BRILLIANT HERITAGE SITES
1. 365 Heritage Sites (the National Trust): Status for implementation: MEDIUM TERM (announced
in Budget 2011 roll-out in 2012) At present the National Trust and its board are deficient. There
is still no list of protected buildings and sites for the National Trust. Because of this decade long
lapse our National Heritage sites are disappearing at an alarming rate and many others are in a
mess. The list of to-be-protected sites needs to be considerably increased. We are suggesting
that there be 365 sites- one for each day of the year- which sets up the mythology that every
citizen would love to have visited each one at least once in their lifetime. These sites become
firstly sites of domestic tourism but are also international tourism destinations themselves.
We are also suggesting that the board of the National Trust have members of bodies like
TTFILM, the Architects Association, the JCC, and ACTT on it.
T&T must embark on the adventure of conceptualizing of beautifully landscaped, architecturally
rich, and brilliantly administrated Heritage Sites- some which will be subsidiised- but many of
which will be multi-million dollar businesses. The problem with Trinidad & Tobago is that we
are event oriented and do not have DESTINATIONS that are worthy of visiting and attracting
people. We are suggesting that apart from the conventional Magnificent 7, some other
selections would include sites like: the site of the Hosay Riots, the houses of CLR James, Roaring
Lion, Sundar Popo, Kitchener, Sparrow, Doctor Pawan, VS Naipaul, Earl Lovelace, Sam Selvon,
Rodney Wilkes, Lennox Kilgour, etc, the forge of Ken Morris, the mas camps of Peter Minshall
and Wayne Berkley, etc. There are dozens of sacred and secular sites that must be considered.
$75 000 000 this year $365 MILLION over 5 years. This is the backbone of the national Tourism
thrust

32
COMMUNITY CENTRES AS THE HUB AND SEAT OF THE RECONSTRUCTION OF THE COUNTRY.
2. 200 purpose-built Community Centres: Status for implementation: MEDIUM TERM (announced
in Budget 2011 to be completed by 2013) COMMUNITY CENTRES MUST BE RECONCEIVED AS
THE CENTRE OF COMMUNITIES AND MUST BE REMODELLED ARCHITECTURALLY,
ADMINISTRATIVELY, AND IN TERMS OF ITS PROGRAMMES.
A minimum specification model must be adopted whereby community centre sites must have:
NGO hubs with satellite offices, counselling services (pregnancy, rape crisis, recidivism
reduction, etc), conference facilities, nurseries, community halls of fames and libraries,
purpose built performing arts and exhibition spaces, meeting halls, computer & IT hubs, and
with alternative services including Elder-based Centres, Sporting based centres and the like.
There must be an immediate freeze on Community Centre sites nationwide (which are not being
built to minimum specifications) which must be seen as incubator and feeder sites into these
large national centres. Communities need to be mapped to identify the optimum sites for
Centres and to rationalize the types of services that individual Centres are best positioned to
deliver e.g, sports and youth based activities versus activities for elders, etc
A complete revisiting of the previous administration’s community centre project must be done
as none of the centres meet the necessary standard. A retrofitting or complete overhaul of
architectural plans and/or possibly reassignment of tenders and contracts may be necessary.
The legal implications must be investigated. These Community Centres must also be rationalized
with the previous administration’s extravagant plan for hundreds of Sporting, ICT, and Early
childhood centres which was unsustainable. Many of these facilities must be rationalized
together. This is an inter-Ministerial exercise and requires Planning- but is urgent and essential!
Partnering with Information, Sports and Tertiary. These centres will cost from $3M to $20M
individually depending on site, size of community, (eg Maloney’s Centre or Centres would
require a community pool, recording studio, and possibly radio station, etc)
MOST LIKELY THE FIRST YEAR WILL CONSIST OF A ROLL OUT OF ABOUT 12 CENTRES OF
VARYING SIZES- SMALL, MEDIUM, LARGE WHICH WILL ACT AS PROTOTYPES IN TERMS OF THE
REVISIONING: $120 MILLION. THROUGH CONSULTATION THESE SITES CAN BE SELECTED.
3. 7 Mother Community Centres in the 7 Mother Communities: Status for implementation:
MEDIUM TERM (announced in Budget 2011 to be completed by 2013) There are 7 communities
which are at the cultural and social generative centres of T&T life and these deserve large
centres and a specific cluster of Heritage sites. These communities are: Laventille/Belmont/SE
Port of Spain; Woodbrook/St. James; Chaguanas/Couva; Moruga/Princess Town; Pt. Fortin;
Arima; Tobago as village. These are the high cultural seats of the country and deserve to be
treated as such. $20 MILLION/per centre- TO BE ROLLED OUT OVER THE COURSE OF THE FIVE
YEARS-
4. KNOWLEDGE AND TALENT CLUSTER SITES: Specific hubs based around clusters of talents,
traditional areas of genius, and emerging innovations and scenes. There are sites where young
people are creating music, art, innovation- these places need to be resourced and wired and
made into labs and zones of experimentation and innovation. At basis they are Community
Centres but they are an advanced tip of the possibility.
5. THE CRAFT INDUSTRY NEEDS MARKET SITES: At one time Trinidad and Tobago used to lead the
region and parts of Latin America with our craft originality and skill- again we squandered this
lead and the world has overtaken us. The industry requires mainstream shopping districts to
exhibit and sell their items- this is apart from the international expo and distribution links
which have been suggested in the TTENT mandate. Areas of the Queens Park Savannah or the
Waterfront have to be designated as full-time Craft areas with aesthetically refined boothing.

33
MAJOR INFRASTRUCTURE
THE UTT ACADEMY IS CRITICALLY IMPORTANT TO TRINIDAD & TOBAGO- BUT NOT IN ITS PRESENT
CONCEPTION. THE UTT ACADEMY IS WHERE THE ENTERPRISE TO RESCUE OUR DISAPPEARING
MEMORY IS SITUATED AND WHERE THE URGENT BUSINESS OF PASSING ON OF DYING SPECIALISED
SKILLS MUST BE URGENTLY ENGAGED. THIS MUST BE DONE AT THE SAME TIME THAT ISSUES OF THE
BUILDINGS THAT ALREADY EXIST- AND OTHERS THAT ARE IN TRAIN- MUST BE RESOLVED

1. NAPA @ Princes Building: (IMMEDIATE!) There must be a full expert forensic

analysis & inspection done of NAPA ON PRINCES BUILDING GROUNDS by
stakeholders & experts- and these stakeholders’ must have full inclusion in the
planning of the other cultural facilities. We will ensure that this analysis be
expedited quickly so that all schedules for school terms and otherwise can be met.
FULL FORENSICS, REDESIGN & RETROFITTING $80 MILLION
2. SAPA: (IMMEDIATE!) There must be an immediate freeze on work on the SAN
FERNANDO NAPA REDESIGN & RETROFITTING $20 MILLION
3. JAPA: (IMMEDIATE!) There must be a discontinuation of the construction schedule
of the JOHN D ACADEMY & THE SAVANNAH CARNIVAL CENTRE REDESIGN &
RETROFITTING $20 MILLION
(IMMEDIATE!) These analyses and freezes will allow lessons to be learnt & a rationalising of proper
Academy specs throughout the national complexes. Some of these facilities may NOT be useable!
4. WAPA: (SHORT TERM!) The Wallerfield Campus of the UTT is an ambitious and
phenomenal enterprise but must be purpose-driven. The Academy site for the
Wallerfield Complex- although it is an Academy of Arts and Letters- must retain the
strict consultation parameters that exist with the Performance driven Academies.
5. The UTT as a holistic unit: (IMMEDIATE!) The entire UTT curriculum needs to be
indigenized as per the principles itemized in the stakeholder documents of 2007. Pat
Bishop should be immediately re-instated as Principal of the Academies or at least
in an Advisory capacity to oversee this process. THIS IS URGENT AS IT IS AT THE
CORE OF THE LEGACY DOCUMENTATION, PATENTING, AND SPECIALISED SKILL
TRANSFERRAL PROCESS AT THE HEART OF THE ‘YEAR OF MEMORY’
6. The Guilds of Masters & The Mas Secret Societies: (IMMEDIATE!) The Guilds of
Masters and the creation of Traditional Mas Secret Societies are indispensable to
the urgent job of passing on and the retaining of traditional skills. This programme
requires urgent working capital. (see page 14 for cost and details)
7. AMAR Studios (Caribbean Sound Basin): Status for implementation: IMMEDIATE
(Budget 2011) The AMAR studio must be re-appropriated from the Ministry of
National Security. The facility is still one of the 3 top recording studios in the world!
It should be placed in trust to the recording industry of Trinidad and Tobago under
trust of groups like RIATT and with a firm management team with a business plan
for its operation as the central facility of the country’s Musical Industry… The UTT
can also utilize the facility as a training and Guild of Masters facility. REOUTFITTING
$7 MILLION
THE ACADEMY IS THE SEAT OF THE PROCESS OF CREATING T&T PATENTED PROPERTIES AND THE
CENTRE OF OUR DRIVE TO CODIFY, MAP AND OWN OUR INDIGENOUS INTELLECTUAL PROCESSES. IT IS
ALSO THE SPACE WHICH WILL ESTABLISH US AS ONE OF THE CENTRES OF CULTURE ON THE PLANET
AND WHERE HUNDREDS OF FOREIGN STUDENTS WILL COME TO MATRICULATE. THE UTT ACADEMY
MUST BE SEEN AS THE SEAT OF A $100 MILLION REVENUE CAPTURING CULTURAL/EDUCATIONAL
ECONOMIC SITE
34
INDUSTRIAL COMPLEXES- GOVERNMENT NEEDS TO IDENTIFY A SERIES OF WAREHOUSE FACILITIES
FOR THE UTILITY OF THE CULTURAL SECTOR. IT COULD HELP IF SOME WERE CLUSTERED TOGETHER
1. Pan Headquarters: Status for implementation: IMMEDIATE (Budget 2011) A priority is to revisit
the architectural plans for the Pan Headquarters and then complete the building with urgency.
$12 MILLION
2. Pan Industrial Complex: Status for implementation: MEDIUM TERM (Budget 2012 Phase 1
completed by 2014) In keeping with the ‘supply’ side of ‘making Pan the Festival instrument of
the world’ by 2020 a full Pan Industrial complex must be contemplated with upstream and
downstream pan enterprises within working distance of one another. Already existing: There is a
complete factory shell that has been converted to house: Tuning Rooms; Storage Facilities;
Drum Sinking Area; Office Facilities. This is located at the Macoya Industrial Estate, Tunapuna.
This facility was created and completed by the government of Trinidad and Tobago in 2009. The
Drum Making and Chrome-Plating Facility is the central part of the estate. $40 MILLION
3. Carnival Industrial Complex: Status for implementation: MEDIUM TERM (Budget 2012) T&T has
relinquished its role as centre of the 300 Carnivals it has spawned, it must reassert its true
position as the Motherland of the Diaspora of carnivals it has created and nurtured. Apart from
all the craft and marketing based reclamation that needs to happen we also need to re-assert
ourselves as the INDUSTRIAL centre of our Carnivals- as the main supplier of materials,
hardware, software, talent, ideas and expertise. This requires a very comprehensive read of all
materials employed in the Carnival and an industrial plan for what can be produced
indigenously. This must then be factored into questions of strategic market access and it must
then be factored into the 40 year plan for the 1000 Carnivals plan for 2050. Can we possibly
envisage Carnival occupying 15- 20% of the nation’s productive capacity? Can we see the
industrial and employment capacity of Carnival taking up a significant part of our GNP and
productive capacity? These are the kind of scenarios we have to contemplate and envision… $10
MILLION depending on the existing warehouse infrastructure
4. The National Film and TV Soundstage AKA Film City: Status for implementation: MEDIUM
TERM (Budget 2012) The TV, Film and Animation industries needs a massive warehouse complex
to create soundstages, wardrobe and set rooms, storage space, archives, and a series of labs and
boutique studios. This site should also be the site for the proposed animation facility whereby
we become an outsource hub for the world animation superpowers in Hollywood and Europe.
Suggestions include former Sharc Studios location at the old Tracking Station in Maceripe. $10
MILLION depending on the existing warehouse infrastructure
5. The Fashion District: Status for implementation: MEDIUM TERM (Budget 2012) The seat of the
Renaissance of T&T fashion will have to be factory complex whereby seamstresses and talent
are located that can mass produce T&T brand items for international distribution. Most T&T
designers have had to become luxury brand couture labels to be able to survive in face of the
absence of government support for the sector. This has meant that most mid-tier designers
have collapsed and disappeared and that the artisan class of tailors that we once led the world
in have also disappeared. $5 MILLION
6. Carnival/Festival/Folklore theme park: Status for implementation: LONG TERM (Phase 1 to
open in 2014) Although T&T right now lacks the technical, intellectual and talent capacity to
sustain it- we must see the creation of a theme-park centred around our rich mythology as a
goal. This maybe a site that is linked to one of the cultural mega-projects already projected- the
Savannah Cultural Complex for instance. Or the site may be Heritage themed- for example the
plans suggested by many that South East Port of Spain- which is the Golden Age seat of Pan,
Mas and Calypso- with hundreds of Heritage sites within walking distance- becomes converted
into a Heritage village with dozens of recreations happening on a weekly basis. Tourism thrust
based upon our entertainment, Heritage, Festival capacity. COMMISSIONED STUDY $400 000.

35
THE SAVANNAH COMPLEX
1. The Carnival, Steelband, and Festival Museum: Status for implementation: MEDIUM TERM
(Budget 2011 completion 2013) This must be part of the remodeling of the present plans for the
Savannah Carnival Centre- apart from the stands it will probably be the defining part of the
building. It should be seen as an extension of the National Museum- which is to be re-located to
Knowsley- and part of the UTT Academy. The facility would be a Wonder of the World where the
full glory of T&T’s multi-ethnic Festival culture will be on display. 100 of the greatest Mas
costumes of all time will be recreated by repatriated artisans in apprenticeship with young
craftsmen and the process mapped. THIS IS URGENT!!! There should be an inner restaurant
courtyard where select costumes are danced everyday according to a yearly roster. Many of
these costumes will be on rotating display nationwide and internationally as ambassadors. All
50+ on permanent display at the facility will dance outdoors on select Festival days during the
year- especially at Carnival. The facility will be the centre of T&T’s re-appropriating the
proprietorship of the 3oo Trini-style Carnivals that exist worldwide and staking the claim that we
are the Festival and Carnival centre of the planet. $200 MILLION FIRST PHASE $50 MILLION
2. The Institute of Carnival: Status for implementation: IMMEDIATE (Budget 2011 warehousing to
be allocated in late 2011) The Institute needs its budget quintupled. This will be the brain centre
of the Museum- pioneering Carnival research and curation. At present it needs warehouse
facilities and an expanded Budget and staff- Pat Bishop should also be re-instated to oversee its
operations. (SEE ABOVE ITEM)
3. The Festival Academy: Status for implementation: MEDIUM TERM (Budget 2011 completion
2013 the Carnival Institute warehouse can serve as an interim space) There needs to be a place
where the reconstruction of the greatest carnival costumes happens. The same Carnival
Institute warehouse is the site. This will probably be the permanent site for a lot of the
matriculation of UTT Academy students in the Festival Arts. (SEE ABOVE ITEM)
THE NATIONAL MUSEUM (expanded): Status for implementation: MEDIUM TERM (Budget 2011
completion 2014) The National Museum’s move to Knowsley does give it some extra room to expand its
collection and display capacity- but is still woefully inadequate. It may be necessary to move the
National Gallery out of the National Museum and locate it to a massive facility. One suggested such site
is 3 floors of the to-be-constructed signature building that should replace the Salvatori Building. Another
sector request is that 3 floors of the IFC Building at the Waterfront next to the Hyatt be given over to
the National Gallery- which would rhyme with the paintings at the base of the building. Such a
positioning of the National Gallery would: mainstream Art in Trinidad and Tobago in an unparalleled
way; completely change the complexion of downtown Port of Spain; and rehabilitate the Capital’s centre
and consolidate its trumpeted position as the Cultural Capital of the Caribbean. $50 MILLION

THE NATIONAL HALL OF FAME: Status for implementation: MEDIUM TERM (Budget 2011 completion
2014) Because of the sheer weight and quantity of Trinbago heroism and the confined Museum space at
Knowsley it may be necessary to create a local (and Caribbean) Hall of Fame. This would be a people-
centric Hall of Fame akin to the National Portrait Gallery in London. Here is a place where the
undervalued work of our greatest photographers can finally find a home. A sculpture garden adjoins.

THE HOUSE OF MUSIC: Status for implementation: SHORT TERM (Budget 2011 for the acquisition of the
collections and for the collectors to begin the process of curation, meanwhile an appropriate site can be
located) The House of Music will house the recorded and memorabilia Legacy of T&T music. T&T has the
2nd oldest recording industry in the world. We were one of the 2 seats of the creation of the modern
phenomena called ‘Popular Music’- yet there is no place in T&T where that Legacy can be heard!!! We
need to purchase the 2 largest collections of memorabilia- which both exist outside of T&T in Canada
and Alaska! The 7 greatest collectors should immediately be employed as core curators and
preservationists around which the staffing of the facility should be built. This can be a major income
earner into our future… $100 MILLION
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THE NATIONAL ARCHIVES: Status for implementation: MEDIUM TERM (a site must be rationalized from
the 2 competing sites in Port of Spain and Wallerfield, Budget 2011 for the acquisition of the BBC
collections and for the beginning of construction) About 40% of T&T’s paper-based archives may be in
jeopardy of disintegration. Most of its audio tape heritage pre-1990 may be irretrievably damaged. Most
important TV and film stock stored nationally before 1997 has been erased and cavalierly treated. The
BBC which has faithfully kept all of our recorded film stock before 1962 has been trying to get rid of its
collection and has been offering us it for sale for the last 10 years… This country urgently needs to
construct a purpose-built climate controlled Archive Building with a trained and qualified staff so that it
can house our invaluable print, TV, film and artifact collections. Architectural plans exist and the
proposed site has been relocated from town to the UTT Wallerfield complex- this decision must be
revisited. $200 MILLION FIRST PHASE $50 MILLION

NALIS & THE COMMUNITY LIBRARIES: Status for implementation: SHORT TERM (Budget 2011 for
rehabilitation works which will be ongoing) One of the few success stories of public institutions the
Library needs resources to staff itself properly and expand and enrich its community libraries and
outreach programmes. Its West Indiana collection also needs to be mainstreamed and integrated into
the wider Library culture and system. $40 MILLION

THE NATIONAL GREAT HALLS STILL TO BE BUILT

1. The Foreshore Complex: Status for implementation: LONG TERM Until a full analysis of NAPA
Princes Building is done it may be difficult to rationalize what other large facilities need to be
constructed. However there is a possibility that a major concert hall venue may need to be
constructed with multiple-stage facilities. The best site for such a venue is on the land now
leased to the Port by the Foreshore adjoining Price Smart. $200 MILLION- AWAITING RESEARCH
2. The Shaw Park Complex: Status for implementation: SHORT TERM Built completely according
to stakeholder requests the Shaw Park Facility in Tobago should be allowed to be completed as
per the architect’s vision. $50 MILLION

THE REGIONAL INITIATIVES

There are certain regional initiatives that T&T should lead as catalyst and senior partners within
CARICOM. These are initiatives that greatly advance the cause of regional integration and unity and will
integrate business and many other sectors at a foundational level.
1. The Caribbean Museum: Status for implementation: LONG TERM (negotiations should begin
this year but will take about 3 years to set up) An idea that emerged at CARIFESTA due to the
generational loss of Memory and Heritage that is currently decimating Caribbean culture
resulting in collapse of traditions and communities. Based in probably Barbados- or even
Haiti(!!!)- the Museum is testament to the phenomena of our pre-Columbian and post-
Columbian civilisation. $50 MILLION Announcement & Implementation at the discretion of the
government and the Honourable Prime Minister
2. The Cricket Museum & Hall of Fame: Status for implementation: MEDIUM TERM (CARICOM
and the WICB must agree to a series of meetings and a committee to ensure this happens) An
indispensable adjunct to the WI Cricket Academy must be the Hall of Fame and Museum which
also will be the major income earning vehicle of West Indian Cricket. The economising of West
Indian Legacy is the greatest missed opportunity of West Indian business, sports, and
civilization. It must be engaged as soon as possible! This facility may be adjoined to the
Caribbean Museum. $50 MILLION $50 MILLION Announcement & Implementation at the
discretion of the government and the Honourable Prime Minister

37
 THE FESTIVALS
&OTHER MATTERS

TRINIDAD AND TOBAGO: THE MULTI-ETHNIC NATION OF FESTIVALS

38
T&T received the Festival tribes from all its Mother countries and has produced an unparalleled nation
of Festivals. Many of the Festivals are comfortably seated in their age-old rituals- others are expanding
and require delicate but sure hands in the facilitation of their growth. Through consultation- the fruit of
which will then be enshrined in the Cultural Policy- issues such as the subventions that should go
towards certain groups would be resolved. As well groups would have a number of independent arms-
length bodies such as the Arts Council with the National Foundation to write to for extraneous funds.
Many groups in this area belong to the religious based ‘Source Groups’ from which much of the now
secular forms of culture emerged. Because these Source Groups remain the primary ‘inspirational bed’
from which the manifestations of culture emerge close and devoted attention needs to be paid to
them.
SENSITIVELY INNOVATING FESTIVALS:
We have become used to the cluelessness of a leadership class that believes innovation is a Covey-
management derived formula- or a garish stainless steel addition to the middle of a green field. We have
not allowed organic innovation to happen and true visionary transformation that respects the origins
and spirit of a phenomenon to emerge. With the Festival DNA of our nation we must be particularly
careful because so much of our democracy and multi-ethnic tolerance comes from them. The following
is an example of how transformation can happen from 2 Festivals currently going through traumatic
growing pains:

PARANG CROSSROADS:
The problems that have faced both the Paramin Parang Feastival and the National Parang Finals are a
case in point. Both festivals are at a crossroads and have been insensitively dealt with by the powers
that be. Paramin emerged as a brilliant outdoor Folk Festival in a historic village community. It then
became a national event- during the late rainy season. The expansion of the Festival and its picturesque
venue on the village football field has led to problems- mud and traffic. The solution was to move the
Festival to Country Club- which has destroyed everything of value in the Festival. A proper architectural
solution to the problem on the same football field could result in Paramin retaining its rural charm and
being able to expand its Festival to become one of the great Folk Festivals in the world- but it requires
innovation and sensitivity. The same goes for the National Parang Finals which is held on plyboard
stages in the Arima Velodrome. If the Finals were relocated to a Heritage Site converted cocoa
plantation estate which also housed a Parang Hall of Fame for instance it could transform the social
and economic capital of the whole event! These are the kind of innovations that are required to work
with the spirit of Festivals whilst at the same time facilitating their transformation.

Through consultation we could emerge with incredible architectural, design and event-based
interventions and creative innovations and facilitations for our national festivals:

All festivals can be sensitively looked at in this way: DIVALI; INDIAN ARRIVAL; PHAGWA; KARTIC;
SHIVA RATRI; EID; HOSAY; SIPARI MAI; GANGA DARA; CHRISTMAS; EASTER; CORPUS CHRISTI;
EMANCIPATION; RAMLEELA; JAHAJI MASSACRE; SHOUTER SPIRITUAL BAPTIST LIBERATION DAY;
SHANGO, OSHUN; OLOKUN; LABOUR DAY; INDEPENDENCE; REPUBLIC DAY; etc…

THE RECLAIM FESTIVAL: Status for implementation: SHORT TERM (announced in Budget 2012 for
August 2012 ) A month long Festival which lasts from August 1st- Emancipation Day to August 31st-
39
Independence Day. The Festival is about the reclamation of all aspects of Tribagonianess, our multi-
ethnic magic, and common humanity. It should happen every 2 years. It would feature days like National
Local Food Day, Panyard Day, Childrens Day, and others. Many of the cultural infrastructure projects and
programmes can be completed to be launched within this Festival THIS GIVES THE COUNTRY A MAJOR
INTERNATIONAL TOURIST SEASON EXERCISE IN WHICH MANY PRIVATE AND PUBLIC SECTOR
PARTNERS CAN CLAIM A SPACE AND CREATE. IT HELPS THAT IT IS BUILT AROUND EVENTS THAT WE
ALREADY DO.
$20 MILLION- WILL NOT BE ENGAGED UNTIL 2012
KINGDOM COME- THE LEGACY EVENT: Status for implementation: SHORT TERM (August 2012) Most
likely held as the culminating event of Independence Day. A massive event meant to honour and
celebrate the Legacy of T&T’s Greatest generation and our heroes and geniuses. This could be the
highlight of the Reclaim Festival and maybe the culminating event on Independence Day
$6 MILLION- WILL NOT BE ENGAGED UNTIL 2012

REMODELLING EDUCATION WITH ART: Status for implementation: SHORT TERM (ongoing
conversations with the Ministry of Education, TTUTA and regional examination agencies necessary)
40
IF THIS ADMINISTRATION IS SERIOUS ABOUT CREATING A KNOWLEDGE-BASED CREATIVE CITIZENRY IT
NEEDS TO INVEST IN ARTS-BASED EDUCATION PARTICULARLY AT THE PRIMARY SCHOOL LEVEL. THIS
CREATIVE IMPULSE THEN NEEDS TO BE FACILITATED RIGHT THROUGH THE EDUCATION SYSTEM
1. We are suggesting that the subject called Civics be integrated into a course called ‘Trinidad
and Tobago and the Caribbean’ which should be taught at least 3 days a week right through
the school system- with National Inter-school TV competitions, etc. This is the only way in the
short and medium term to mainstream local, regional and ancestral history, arts and culture. A
committee with stakeholders could be set up through the Ministry to create the Subject’s core
curriculum which it will then take to the curriculum division of the Ministry of Education
2. In keeping with this suggestion: There must be a thrust to create new generation books for the
Primary, Secondary, and Tertiary Education system that are rooted in our cultural and creative
legacies
3. THERE MUST BE THE URGENT CREATION OF MODEL/MAGNET SCHOOLS FOR GIFTED &
DIFFERENTLY TALENTED STUDENTS (SPORTS, THE ARTS, INDUSTRIAL ARTS) (IMMEDIATE
Budget 2011)
4. A national scouting system must be set up to identify talent for these schools
5. There must be proper purpose-built Facilities for the Arts in all schools
6. There must be both qualified and practicing artist trainers to coach students in the system for
subjects. Representative organisations will register and accredit practitioners.
7. 100% Functional Literacy nationally must be a major goal set for within 3 years
8. There must be an expansion of the Pan-In-The-Classroom Programme. There are three areas of
work involved here, they are as follows: Supply of Instruments to more Schools; Additional Pan
Instructors per educational districts; Additional Supervisors for the expanded project
$576,000 per year
9. The allocation for the Visual Arts Syllabus in Secondary schools is woefully inadequate- it is now
at the whim of Principals with the allocation averaging in the simple hundreds/student. The
suggested annual requirement per student is: $7 878.56

DIFFICULT DISCUSSIONS
 Censorship and Age appropriateness: (SHORT TERM don’t rush into this!) Non-age appropriate
music and creative content being played and exhibited within the earshot or range of minors
must become an offence and discussions must be had with ALL stakeholders as regards how to
preserve the innocence of childhood.
 Discussions with the Pirates: (SHORT TERM don’t rush into this!) The DVD and CD pirates must
be brought into the fold of the mainstream local music and film industry as legitimate
distributors, labels, packagers and proprietors of LOCAL CONTENT locally, regionally and
internationally.

41
CULTURAL LEGISLATION

CULTURAL LEGISLATION
The following is the list of artists’ Legislative demands. Most of these are cultural sector demands that
have been on the table since Independence. To build institutions without passing the laws is to sabotage
your initiatives. The institutions are the nouns, the laws are the verbs.

1. GOVERNMENT SHOULD ENGAGE SECTOR GROUPS IN THE PROGRAMME PLANNING OF ONE OF

ITS TELEVISION STATIONS AND ONE OF ITS FM RADIO STATIONS WITH MANDATES FOR 100%
42
 LOCAL CONTENT. NEGOTIATIONS TO THIS EFFECT HAVE ALREADY BEGUN. CONSULTATIONS
OVER THE BOARDS AND POLICY DIRECTIONS OF ALL STATE OWNED MEDIA SHOULD TAKE PLACE.
A POLICY STATEMENT SHOULD BE MADE ON THIS BY THE FIRST QUARTER 2011; AN
ALLOCATION FOR LOCAL PROGRAMMING OF $17 MILLION AND RADIO PROGRAMMING $3
MILLION SHOULD BE PART OF THIS REMIT.

GOV’T STATIONS HAVE SUSTAINED LOSSES OF $40 MILLION WHILST EMBARKING ON

PROGRAMME AND STATION MODELS OF 75% AND OVER FOREIGN CONTENT AND
ATTEMPTING TO COMPETE WITH MARKET LEADERS. WE ARE SUGGESTING THAT THAT MODEL
HAS OBVIOUSLY FAILED. SECTOR GROUPS WILL WORK WITH GOVERNMENT TO CONSTITUTE
BOARDS, DELIVERABLES, AND FEASIBILITIES BUT WE ARE CLEARLY STATING THAT THE CENTRE
OF OUR ENTIRE CULTURAL SECTOR WILL BE THESE TWO CHANNELS WHOSE MANDATE WILL
BE 100% LOCAL PROGRAMMING AND WHOSE REMIT IS SUBSIDISED. THIS DOES NOT
PRECLUDE THE NECESSITY OF LOCAL CONTENT QUOTA LEGISLATION

2. A TIMELINE SHOULD BE DECLARED FOR THE ROLL-OUT OF MINIMUM 45% QUOTAS FOR LOCAL
CONTENT ON TV AND RADIO. STATUS FOR IMPLEMENTATION: 2 YEARS WITH TARGETS SET
EVERY 6 MONTHS 15% by May 2011, 25% by October 2011, 35% BY March 2012; 45% by August
2012). This is the most important initiative that the government can embark on in the Arts. The
fact that T&T’s radio and TV local content hovers at around 5-10%- one of the lowest in the
world- is what cripples all its other artforms as broadcast media is the most critical validifying
force. For Television and radio the stipulation is 10% Caribbean content with a minimum 40%
local. Such legislation is present in most of Western Europe, Australia, Venezuela, Chile, Canada
and Ireland and has resulted in massive economic benefits. Also repeal the recently given veto
power of the Minister over the Telecommunications authority. Other sectors are joining in the
LOCAL CONTENT lobby- Architects, Consultants, IT sector, etc. The law should be passed with a 6
month implementable period to ramp up to 25% with 35% within the following 6 months (5%
Caribbean). 50% is to set over 2 years. There should be a Launch Date, a Local Content Tour,
Local Content Trucks, and a full campaign accompanying the initiative. $3MILLION

3. RELEASE FOR PUBLIC COMMENT THE DRAFT NATIONAL CULTURAL POLICY which will regulate
the cultural sector, creating protocols for relationships between the Ministry and
representative groups, policy for arts institutions and funding regimes for the sector amongst
other things. Status for implementation: IMMEDIATE (to be launched at the national
stakeholder meeting in 1 month)

4. THE FOLLOWING REPRESENT THE DETAILS OF A MOTION PICTURE OR AN AUDIO-VISUAL ACT

THAT THE SECTOR WOULD LIKE TABLED- IT INCLUDES A RANGE OF INCENTIVES AND
LEGISLATIVE AMENDMENTS WHICH WILL REDOUND TO THE BENEFIT OF THE INDUSTRY:
a. The Cash Rebate application process for accessing rebates needs to be simplified as it appears to
be excessively rigorous and not worth the trouble.
b. US$100,000.00 as the lower limit set for cash rebates on PEIRP expenditure is too high for a local
production- it is suggested that US$50,000.00 is a better figure to start with for locals whilst
maintaining the US$100,000.00 for foreigners. However, the actual value set as the lower limit for
locals is US$25,000.00.
c. As there are three (3) productions ranging between US$7Million to US$14Million that are interested
in shooting in T&T a suggestion is for the cash rebate to be extended to 40% on expenditure above
US$3Million.
43
d. Presently there is a ‘first come, first served’ system of allocations. This system needs to be changed.
e. Possibly a special rebate fund needs to be set up and criteria changed to ensure rebates are
available for both local & foreign film makers and to deal with the insufficiency of the present
system of prioritizing requests. This will remove the possibility of rebates coming out of the sector
subvention if large productions come to our shore.
f. All audio-visual equipment used in the production of motion picture and the music recording
industry should be zero-rated, and exempt from VAT and Duty!!! We understand that this is a
revolutionary act but this will unleash the sector completely and the government will receive much
more taxation income from the hundreds of works that will be created and the increase in activity in
the sector IN PRODUCTIVE CAPACITY.
g. This should include the importation of elements of wardrobe/costuming for Period Pieces
unavailable in T&T to be exempt from Customs Duties and VAT as well.
h. The 50% rebate on expenditure specifically for infrastructure for the film industry up to a
maximum of US$3Million was preferred to the implementation of a tax relief clause since most
local productions did not expend enough to pay tax. This cash rebate would encourage the
purchase of film industry equipment which would lend itself to an increase in productions.
i. It was agreed that the 150% tax deduction for Corporations was desirable. However, for this
incentive to ensure returns to investors of up to 1Million, the upper limit of the claim had to be
increased to 2.5Million. It was also suggested that a 3-Month Implementation Calendar with
requisite benchmarks be set for Carnival 2011 in an effort to capture Carnival season imports as it
has been outstanding since 2001.
j. It was suggested that an Implementation Regime / Team be set up to ensure that requirements
are met with the various stakeholders such as the BIR, C&ED, and MTI.
k. All were in agreement that amendments are required to the Finance Act to allow for this incentive
to be adopted and for it to be administered by the TTFC.
l. There was agreement for an urgent need to draft the amendments to the Customs & VAT Acts to
exempt film equipment entering T&T either as cargo or baggage from VAT and Customs Duties.
m. TTFILM would like a certificate be given to film makers to take to the C&ED. Presently a letter from
TTFC is taken. This has continued to receive resistance on occasion. Legislation should be amended
to accommodate film makers / alleviate obstacles encountered at C&ED.
n. It was suggested that films made by locals entering T&T, whether temporarily or permanently, for
the purpose of premieres should be exempt from Customs duties & taxes.

Other Recommendations
a. A futuristic projection for investment in film in T&T needs to be considered. Research can be
done on similar markets to generate projections.
b. A fund needs to be set up to provide more financing for the film industry (re: fiscal incentives
and content creation). This fund can come from: A 1% tax placed on ticket sales for foreign
films, at Cinemas to contribute to the film industry fund.
c. Provision of insurance for film / film equipment is required (meeting pending between TTFC &
potential insurer)
d. There needs to be collaboration between the National Trust and TTFC (possibly have a TTFC rep.
sit on the Board of the National Trust) regarding the preservation of filming locations in T&T.
e. Quotas should also be set for local content screening in Cinemas whereby local short films are
ALWAYS shown before every foreign movie( no 1% tax on the screening of local content).
f. Scholarship funding is essential to train talent in the missing skills banks in the industry.
g. Cinemas 8 and Movie Towne should have one screen dedicated to Local Cinematic releases
that guarantees 1- 2 week releases. Such screens may have to have a minimum guarantee
subsidy which can be paid from the ticket tax.
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5. EXTEND THE COVERAGE OF COPYRIGHTS AND RELATED RIGHTS. The Berne Convention sets out
the minimum duration for copyright protection, which is currently life plus 50 (fifty) years after
the author’s death. We propose, the government of Trinidad and Tobago extend the term of
copyright to life plus 70 (Seventy) years after the author’s death. The WIPO Performances and
Phonograms Treaty (WPPT) sets out the minimum duration for related rights protection, for
Producers and Performers as 50 (fifty) years. We propose, that this be extend from 50 (Fifty) to
95 (Ninety-Five) years. Status for implementation: IMMEDIATE

6. TRINIDAD AND TOBAGO SHOULD JOIN CARNET AN INTERNATIONAL 'TREATY' THAT ENSURES
FREE AND EASY MOVEMENT OF EQUIPMENT AND PERSONNEL ACROSS CUSTOMS AND
BORDERS as well as a uniformity of taxes on all visiting crews. These taxes should go to the
local filmmakers fund. Status for implementation: IMMEDIATE

7. REPEAL THE COLONIAL THEATRE AND DANCEHALL ACT WHICH HAS BEEN INVOKED TO CENSOR
ARTISTS IN THE RECENT PAST. Possibly a ratings system for shows could be instituted instead.
Also revoke the colonial ban on drumming - still on the law books Status for implementation:
IMMEDIATE (Budget 2011)

8. 3-5% OF ALL CORPORATE BUILDING BUDGETS SHOULD GO TOWARD 'CORPORATE ART' ON

CONSTRUCTION. AT LEAST 10% OF THAT SHOULD GO TOWARDS THE CREATION OF OPEN-AIR
ART ADJACENT TO OR ON THE PREMISES OF THE BUILDING OR IN THE SURROUNDING
COMMUNITY (eg public sculpture). Every successive year at least 3-5% of business profits to go
towards acquiring art on a sliding scale. Status for implementation: IMMEDIATE (Budget 2011)

9. REMOVAL OF SELECT TARIFFS ON ARTIST EQUIPMENT AND MATERIALS e.g. Craftsman -

Musicians and Producers - sound Fine Artists THE MANUFACTUERERS ASSOCIATION GOT A BIG
LIST OF STUFF FRO TARIFF REMOVAL AND REDUCTION LAST 4 YEARS. WE NEED TO RATIONALISE
THIS LIST WITH THE EPA AND THE UPCOMING CANADIAN NEGOTIATIONS. Status for
implementation: IMMEDIATE (Budget 2011)

10. T&T MUST SHOW A COMMITMENT TO WORKING WITH THE ORGANS OF CARICOM AND
INDIVIDUAL MEMBER STATES TO ENSURE THAT THE ‘CARICOM SKILLED NATIONAL
CERTIFCATE’ AND THE ‘CERTIFICATE OF REGISTRATION AS A SERVICE PROVIDER’ ARE
RECOGNISED AT ALL PORTS OF ENTRY.

11. GOVERNMENT MUST TIMETABLE THE ACTIVATION OF 'THE NATIONAL TRUST’ BY THE LISTING
AND DECLARING OF NATIONAL TREASURES WITHIN 4 MONTHS. 365 heritage sites should be
identified: literary tourism sites; architectural sites; historic event sites; artist-based sites, etc
Status for implementation: IMMEDIATE (Budget 2011)

12. GOVERNMENT MUST RATIFY THE UNESCO CONVENTION ON THE PROMOTION AND
PROTECTION OF THE DIVERSITY OF CULTURAL EXPRESSIONS (2005) AND THE CONVENTION ON
INTANGIBLE CULTURAL HERITAGE (ICH). Jamaica, Barbados, Grenada, St Lucia and Dominica are
among the 108 countries who have to date ratified, and other Caribbean countries are working
45
 towards this. Trinidad and Tobago remains virtually invisible in this conversation. We have not
ratified the UNESCO Cultural Conventions: The Convention on the Promotion and Protection of
the Diversity of Cultural Expressions (2005) and The Intangible Cultural Heritage (2003). As a
result: T&T has no access to the UNESCO Fund for Cultural Diversity, launched in March 2010
which helps support development of the culture sector. Status for implementation: IMMEDIATE
(Budget 2011)

13. The 100% tax rebate for investments or support given to cultural or sporting initiatives which
meet pre-determined criteria must be raised to 150% and must be operationalised. For this
incentive to ensure returns to investors of up to $1 Million, the upper limit of the claim has to
be increased to $2.5Million. A 3-Month Implementation Calendar with requisite benchmarks
is be set so that the initiative is fully operationslised by Carnival 2011- as it has been
outstanding since 2001.

46
 THE FIGURES

 THE TOTAL COST OF THE PROGRAMMES

FOR 2010/2011 IS: $1 296 050 000 TT

47
 THIS IS SANS THE COST OF THE CURRENT
ADMINISTRATIVE FRAMEWORK OF THE
MINISTRY OF ARTS & MULTI-CULTURALISM
 THIS IS NOT A LOT OF MONEY RELATIVELY
IN TERMS OF THE COMPLETE REVAMPING
OF A SECTOR
 BEAR IN MIND THIS SPEND IS SPREAD
ACROSS 6 MINISTRIES
 WE ARE ASKING YOU AND THE VARIOUS
MINISTRIES TO HAVE FAITH IN SECTOR
GENIUS AND IN OUR ANALYSIS
 WE CAN DEFEND EACH DOLLAR OF EACH
SPEND AND THE CORE COMPETENCIES OF
ALL THE PLAYERS THAT WE HAVE
IDENTIFIED AS LEADERS AND WORTHY
 AFTER 48 YEARS OF DOING IT THE WAY OF
THE POLITICIANS, LET US FOR ONCE DO IT
THE WAY OF THE SECTOR
 WE KINDLY ASK THAT YOU LISTEN TO OUR
EXPERTISE AND UNLEASH THIS SECTOR.
LET US WIN THE DAY FOR YOU!!!

48
APPENDIX

APPENDIX 1

49
 GROUP HEALTH PLAN

For the benefit of Practitioners in the Creative/Cultural Industries Sector

The high cost of medical care for our respective members, a considerable percentage of whom are
seasonally employed or underemployed, has been having a negative effect on our respective
organizations.   In the cases where the Ministry of Culture had been approached for financial assistance
in the past the maximum grant given is TT$50,000.00 and only twenty (20) persons would have benefitted
if $1m had been disbursed. Trinidad & Tobago Coalition of Services Industries (TTCSI) an agency that
supports the services sector and funded by the Ministry of Trade has negotiated an excellent Group
Health Plan for its member organizations and from which the Creative/Cultural Industries Fraternity can
benefit tremendously.

1. Insurance Company: SAGICOR

2. Age Requirements: 18yrs – 70yrs, 71yrs – 99yrs

3. Coverage: All medical situations to the extent of 80% of eligible benefits

4. Maximum Benefit:  TT$400,000.00

5. Life Insurance:  A life Insurance component is applicable and which can be

used as a Funeral Grant

6. Premium:  For beneficiaries 18yrs-70yrs: TT$3,550.00 per

person per annum
For beneficiaries 71yrs-99yrs: To be negotiated

7. Administration:  To be managed by the Trinidad and Tobago Coalition of

Services Industries (TTCSI). A small annual fee (maximum 600.00) to be
payable by the insured for administrative purposes

.The $1m request would be able to cover 2000 practitioners between the ages of 18 and 70 and
approximately 50 practitioners/retirees between the ages 71 and 99

THE BILLION DOLLAR VISIONARY FUND: a case for a massive National Venture Capital Programme to
kick-start the New Economy
By Rubadiri Victor rubadiri@yahoo.com

50
I am saying that a local Fund needs to be set up with about $3 Billion TT whose sole purpose is to fund
brilliant ideas and business start-ups. It is for people who are inventors, visionary artists, scientists,
businessmen and innovators. The sole purpose of this fund is to help brilliant people make ideas real.
This Fund’s sole purpose is to kick-start the next generation of Trinidad and Tobago enterprise, culture
and innovation. Only an intervention like this can radically transform the industrial and entrepreneurial
‘bad habits’ of Trinidad and Tobago and unleash the spirit and energies of innovation in the nation.

Spend it Right
Billions of dollars have been spent building a new waterfront. Billions have been spent on a government
campus in the capital city. Billions are to be spent on a Rapid Rail.

The cry has come from nearly all economists: “The wealth of this Boom is being mis-spent.” Boom
money should be spent on facilitating industries that diversify the economy away from dependence on
Oil and Gas. We need to spend our windfall on industries where we control the factors of production
and pricing. Industries that make money and help expand the economy. Big buildings holding public
servants do not create wealth for the economy.

Government is not spending enough to kick-start and facilitate the non-oil and gas industries. For
instance, government’s subvention for the Film Industry was $6 Million. For an entire industry!!! That is
barely the catering budget on a small Hollywood film! And T&T has Oscar award winners who want to
work in our Film industry!

We appreciate the fact that government has at least made a start. But what needs to happen requires
more than pennies. Government has got to believe in these industries. I mean really Believe!!!

Kick-Start the Creative Spark

Government needs to kick-start the creative spark in the country- and the entrepreneurial spirit. This is
fundamentally the spirit of risk. Our present financial institutions are very conservative. They have
frustrated the local visionary enterprises that have wanted to emerge. In the Carnival arts- a global $15
Billion US economy- our local creative practitioners and root communities have been strangled because
no one risked the capital to industrialise and capitalize them.

The modern information-technology economy was created by American Venture Capitalists who risked
money on tens of thousands of internet start-ups. From 1995 to 2001 billions of dollars were made
available to thousands of start-up internet companies called dot.coms. Due to this, the rate of
technological and creative innovation soared in America. The innovativeness of that period not only
made millionaires- but fundamentally changed the world.

Bill Gates- owner of Microsoft and the richest man on the planet for years- was funded by venture
capital when he and his creative partner were just nerds in a garage playing with computers. If no one
had risked the money on Gates the world may have been a very different place.

The downside- of course- is risk. Many dot.coms failed. When the internet bubble burst it took a lot of
businesses with it. At the same time the innovation the bubble created changed the face of the planet
forever.

Trinidad has Venture Capital companies- but they have performed more like traditional banks than real
Venture Capitalists. They are risk-averse and unwilling to give visionary ideas a play. This remains
America’s strength- despite its many shortcomings capital still finds its way to those with ideas. As a
country we have gone in the opposite direction- openly punishing all our people with ideas!!!

51
For Vision 2020 to work- or just for us not to collapse into the hell-hole we’re swiftly approaching- we
need to free up our visionary class.

Setting it Up
This is a call to government to set up the Visionary Fund managed by some of the nation’s (and world’s)
best risk managers and visionary fund personnel. Make the money available to all comers. No prejudice.
No pre-suppositions. Let anybody come off the street with their ideas. Let there be tiers to the fund.

One tier of funding may be to help some people present their ideas properly. Other funds may be to
build proto-types. Others may be to help mass produce. Others may be to help a young business jump to
the next level. Another may be to help an established medium-size or large business jump to global
competitor status!!! Films, farms, computer programmes, pan factories, new pan inventions, new food
products, new genetic breeds of vegetables, fishing technology- all these may be the fruits of this fund.
The beauty is we have no idea what beauty will emerge!!!

The fund may start with grants as small as $10 000. to as large as $100 Million for a prestige winner.
Let’s make the billions we have work for us. Only a radical unleashing of the creative energies of the
citizens like this could transform the base of the economy!

There will be about a 45% failure rate- but the 55% that succeed will change this country for the better.
Forever. This will transform communities and the very possibilities of the Trinbagonian. Let us fund our
Genius and show that we understand development is about People and Ideas- not just buildings and
things. Let’s start talking this Fund now!!!

52
THE ARTIST COALITION
OF TRINIDAD AND
TOBAGO

A.C.T.T. THE ARTIST COALITION OF TRINIDAD & TOBAGO

5 Gulf View Drive, La Horquette Extension Road, Glencoe 1-868-797-0949 generationlion@yahoo.com www.generationlion.org

THE REPRESENTATIVE ORGANISATION FOR T&T ARTIST & CULTURAL WORKERS

AN INTRODUCTION

53
Our country stands at a crucial crossroad and the artists and cultural stakeholders of Trinidad and
Tobago stand ready to work for the redemption of our country at this moment.

 The Artists Coalition of Trinidad and Tobago (ACTT) represents the formalization of a process to create an
umbrella body to represent the artists of Trinidad & Tobago and their interests. This process is being
facilitated by the Trinidad and Tobago Coalition of Services Industries (TTCSI).
 ACTT is an NGO and a Trade Association led by professional artists who work in their peers’ interest. ACTT
currently is in work-group discussions with 20+ national artist representative groups towards formalising the
national body. Efforts are on the way to expand this to include all local artist sector representative groups-
as well as individual memberships.
 ACTT has become critically important because of the enormous chasm that exists between the Genius
Legacy of T& T Arts & Culture- and the systemic marginalizing and under-resourcing of local Artist and
creativity by government and the private sector. There remains no connection between normal citizens
and T&T’s magical heritage which includes Oscar, Emmy, Tony, Grammy, Nobel Prize, & Commonwealth
Book Prize winners, our Golden Age legacy of steelpan calypso, limbo, Carnival and ethnic festivals, and our
status as the source of 300 Trini-styled Carnivals globally. Many traditions are collapsing and
underperforming.

The interim board of ACTT is:

 Rubadiri Victor President
 Sheldon Manoo Vice President
 Fabien Alphonso Secretary
 Shawn Randoo/Andre Reyes Assistant Secretary
 Stuart Fortune Treasurer/Gregory Fernandez /Nestor Sullivan Associate Board Members
Members of the working group of ACTT:
1. The Chutney Foundation- Rep. Vijay Ramlal
2. The Tassa Association of Trinidad and Tobago- Rep. Agnes Raghoobarsingh
3. Pantrinbago- Rep. Michael Joseph
4. The Rapso Movement of Trinidad and Tobago- Rep. Brother Resistance
5. The National Drama Association of Trinidad and Tobago- Rep. Joel Greaves
6. National Carnival Development Foundation- Rep. Michael Nobrega
7. The Parang Association of Trinidad and Tobago- Rep. Neil Marcano
8. Trinidad and Tobago Teachers of Visual Arts- Rep. Andre Reyes
9. Association for Media Entertainment of Trinidad and Tobago- Rep. Ryan De Castro
10. The Jazz Alliance of Trinidad and Tobago- Rep. Sean Thomas
11. Trinidad and Tobago Artisan Foundation- Rep. Akilah Jaramogi
12. The Recording Industry Association of Trinidad and Tobago- Rep. Fabien Alfonso
13. The Trinidad and Tobago Hip Hop Fraternity- Rep. Stuart Fortune
14. The Writers Union- Rep. Marina Maxwell Omowale
15. The Circle of Poets- Rep. Janique Dennis
16. Trinidad and Tobago Archivists- Rep. Shawn Randoo
17. The Traditional Carnival Artists Association- Rep. Rubadiri Victor
18. Green Light Network- Rep. Elspeth Duncan
19. Animators- Rep. Camille Selvon Abrahams
20. Fusion and Rock Musicians Association- Rep. Sheldon Manoo
21. Fashion Industry Professionals- Rep. Rosemary Stone
22. Affiliates & Observers: Studio 66- Rep. Makemba Kunle; FITUN- Rep. David Abdullah; Trinidad and
Tobago Youth Council- Rep. Akins Vidale; The Poet Society of Trinidad and Tobago- Rep. Anna Sahadeo,
Bernard Troy Yawching; Theodora Ulerie

A.C.T.T. THE ARTIST COALITION OF TRINIDAD & TOBAGO

5 Gulf View Drive, La Horquette Extension Road, Glencoe 1-868-797-0949 generationlion@yahoo.com www.generationlion.org

THE WORK OF ACTT

54
ACTT has engaged in many activities in its decade long existence. ACTT appeared first as a small
gathering of artists in 1997 who took it upon themselves to start to document and compile all
national artists’ demands and consolidate them. Its first incarnation as a collective- then called
The Entertainment Industry Coalition (EIC) in 2000- mobilised a series of national artist marches
principally around the issue of National Local Content Broadcast Quotas. This evolved into
ACTT’s present incarnation which is a determined lobby for artist and cultural industry macro-
industrial interests.
Ever since its appearance as ACTT its executive has worked tirelessly for cultural industry
interests and has attempted to create an institutional memory for artist and their struggles.
The following is just a short list of some of the more visible of ACTT’s interventions in the T&T
landscape:
1. Released and defended a report on the National Performing Arts Academy (NAPA)
that exposed massive flaws in its planning, architecture, technical areas and
programming.
2. Represented Trinidad & Tobago artist positions in the negotiations for
Commonwealth Heads of Government Meeting 2009
3. Directed the Performance segment of the Opening of the CHOGUM People’s Forum
4. Represented Trinidad & Tobago and Caribbean artist positions in the negotiations
for the 5th Summit of the Americas People’s Forum 2009
5. Presented the T&T and Caribbean Artist position at 5th Summit of the Americas
People’s Forum 2009
6. Currently collecting hundreds of non-soca, non-calypso and non-chutney albums by
local musicians to present them to the Ministers of Legal Affairs, Trade and Industry,
and Culture- as well as the Telecommunications Authority- to assist in the ongoing
lobby for Local Content Quotas in the Broadcast Industry. Also submitted position
paper.
7. 2009 Represented industry stakeholder positions to the Commission of Enquiry into
the Urban Development Corporation of Trinidad and Tobago (UDECOTT) particularly
into cultural industry concern over stakeholder freeze-outs in consultation over $5
Billion worth of cultural institutions after a zero dollar spend for 43 years. Got the
sitting Minister to finally agree to consult with stakeholders.
8. Created dozens of Institutional Minimum Specification Documents for a range of
Artist Institutions including Performance Arts Spaces, Community Centres,
Museums, etc and submitted same to the relevant Ministries, etc (See enclosed
documents)
9. Lobbied tirelessly for government to consult artist stakeholders on the entire range
of cultural institutions that are being built since 2003- these lobbies were able to
affect certain institutional specs as well as the administrative and programming plans
for some of these institutions as well as freeze the building of others. This is an
ongoing campaign…

10. Created dozens of Policy Templates, compiled International Legislative precedents,

and formulated dozens of Working Documents for Cultural Reform in the country
and submitted them to the relevant Ministries and Authorities. These include: a
National Genius Grant Scheme called The Magnificent Sevens and a working
Institutional Framework for the just created University of Trinidad and Tobago Arts
and Letters Academies (enclosed)
55
 11. Represented Trinidad Artist positions to the European Economic Partnership
Agreement in 2008.
12. Represented Trinidad Artist positions to the UNESCO, UNCTAD Fund negotiations
2008.
13. Mobilised Musicians and artists and organised public marches in 2000, 2001 and
2003 over the question of local broadcast quotas which resulted in the liberalisation
of the airwaves and the freeing up of station licences. Actually drafted the
amendment to the Legislation that was to be included in the 2000
Telecommunications Bill which was then stricken at the last moment due to
competing lobbies
14. 1997- present: Lobbying for the building of important ‘Missing Cultural Institutions’
like Museums, Halls of Fames, Heritage sites, Performing Arts Centres, Academies,
Archives, etc. This lobby was partially responsible for the amazing announcement of
over $5 Billion of these institutions being announced to be built in the 2003 National
Budget.
15. 1997- present: Lobbying for culturally sensitive policies and legislation- crowned by
the demand for the creation of a long demanded National Cultural Policy.
16. 2007- 2008: Interim President Rubadiri Victor then Co-authored the Draft National
Cultural Policy of Trinidad and Tobago
17. 2008-9: Lobbying for the release of the National Draft Cultural Policy document for
Public Consultation which has not been released to the public for over a year.
18. Tireless media appearances representing artist’s positions to the public at large to
sensitise them to artists issues

CREED:
 WE BELIEVE THAT CREATIVITY IS A NATURAL GIFT AND A FUNDAMENTAL HUMAN
RIGHT.

 WE BELIEVE THAT A COUNTRY’S CULTURE IS AT THE ROOT OF ITS ABILITY TO LOVE

AND KNOW ITSELF.

 CULTURE IS THE ROOT OF A COUNTRY’S ABILITY TO UNDERTSAND ITS LANDSCAPE.

THIS THEN IS THE ROOT OF A COUNTRY’S ABILITY TO UNDERSTAND AND EXPLOIT ITS
OWN RESOURCES. THIS IS AT THE ROOT OF A COUNTRY’S ABILITY TO LOVE & BUY ITS
OWN LOCAL PRODUCT. THUS CULTURE IS AT THE ROOT OF A COUNTRY’S ECONOMY.

 WE BELIEVE THAT CULTURE CAN ALSO TAME & HARNESS THE WILDNESS OF YOUTH
AND THE DESTRUCTIVE CAPACITY OF YOUNG MALES… WE BELIEVE THAT CULTURE
SHOULD THEN BE EMPLOYED IN THE WINNING BACK AND RECONSTRUCTION OF
COLLAPSING COMMUNITIES
 WE BELIEVE THAT CULTURE CAN GIVE MARGINALISED PEOPLES VOICE
 WE BELIEVE THAT CULTURE CAN SOLVE MANY OF THE PROBLEMS THAT PLAGUE OUR
MODERN SOCIETY- IF GIVEN THE CHANCE

A.C.T.T. THE ARTIST COALITION OF TRINIDAD & TOBAGO

5 Gulf View Drive, La Horquette Extension Road, Glencoe 1-868-797-0949 generationlion@yahoo.com www.generationlion.org

56
 HEMISPHERIC ARTIST & CULTURAL ISSUES

1. WE BELIEVE THAT ALL COUNTRIES SHOULD HAVE MINIMUM 35- 50% LOCAL CONTENT
QUOTAS FOR ALL BROADCAST MEDIA- RADIO AND TV. THEY SHOULD ALSO HAVE
SUBSIDISED FILM INDUSTRIES so that they can tell their own stories in film. This is a
question of cultural sovereignty- and is at the root of creating desire for the local. In GATT
trade negotiations, France and other European countries took broadcast/media industries off
the list of Free Trade goods insisting they were not ‘goods’ but articles of national
sovereignty. Such legislation is present in most of Western Europe, Australia, Venezuela,
Chile, Canada and Ireland and has resulted in a geometric increase in the quantity and
sophistication of local products, and massive economic benefits and spinoffs.
2. ALL COUNTRIES SHOULD HAVE NATIONAL CULTURAL POLICY DOCUMENTS DRAFTED BY
VISIONARY PRACTITIONERS AND EXPERTS- THAT ARE THEN REFINED AND RATIFIED BY
NATIONAL CONSULTATION. These National Cultural policies should be sensitive to the
diverse cultural needs of a diverse citizenry.
3. NATIONAL CULTURAL POLICIES SHOULD ARTICULATE THE FRAMING IDEAS AND NUTS &
BOLTS THAT CREATE PROPERLY FUNCTIONING CULTURAL ECO-SYSTEMS OF: CULTURAL
INSTITUTIONS & INFRASTRUCTURE; CULTURALLY SENSITIVE AND SUPPORTIVE
LEGISLATION; AND FACILITATIVE ARTS AND CULTURE FUNDING. The aim is to ensure that
the artist, the creative idea, and the creativity of the nation have facilities to be protected,
nurtured, supported, exhibited, distributed, marketed, analysed, and canonized.
4. WE BELIEVE THAT AN INSTITUTIONAL FRAMEWORK THAT WORKS IS ONE ROOTED IN
PROPERLY CONSTITUTED, PURPOSE-BUILT COMMUNITY CENTRES. These Community
Centres should have facilities that facilitate the exhibition of community creativity- visual
arts, music, theatre, etc- in purpose built spaces. The facilities and programmes should
facilitate the identification and celebration of local and national history and heroes with Halls
of Fames, Museums, Libraries, etc. Facilities for counseling, NGO offices, conferences,
internet cafes, and sports should all be integrated as minimum specs. Community centres
thus become the fulcrum of citizenship.
5. THE LARGER ROUND OF CULTURAL SUPPORTIVE INSTITUTIONS SHOULD INCLUDE BOTH
LOCAL AND NATIONAL HERITAGE SITES, MUSEUMS, HALLS OF FAMES, LIBRARIES, ARCHIVES
AND PURPOSE-BUILT EXHIBITION HALLS AND PERFORMING ARTS VENUES.
6. ARTS EDUCATION SHOULD BE INTEGRATED INTO THE CURRICULUM AT NURSERY,
PRIMARY, AND SECONDARY LEVELS. There should also be model /magnet schools that
identify and train gifted children at these levels. There should also be tertiary level Schools,
Guilds and Academies that then refine artistic and cultural industry practice and where
national traditions are codified & analysed.
7. ALL COUNTRIES NEED TO SIGN ON AND RATIFY ALL OF UNESCO’S CULTURAL CONVENTIONS
like: the Convention on the Protection and Promotion of the Diversity of Cultural Expressions
2007; the Convention Safeguarding Intangible Cultural Heritage 2003; and more

57